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THE 


MASTERPIECES 

OF  THE 


Centennial  International  Exhibition 


ILLUSTRATED 


VOLUME  II 


INDUSTRIAL  ART 


Prof.  Walter  Smith 


PHILADELPHIA 


GEBBIE  & BARRIE 


Contents  of  Volume  II 


The  Industrial  Art  of  the  Exhibition,  By  Walter  Smith i 

The  I.esson  of  the  Exhibition 497 


ENGRAVING  ON  COPPER. 

The  Dying  Lioness.  Professor  Wolf,  Sculptor.  P.  Moran,  Engraver Frontispiece. 

ILLUSTRATIONS  OF  INDUSTRIAL  ART. 


BRASS  AND  BRONZE. 

PAGE. 

Amphora.  Susse  freies,  Paris 203 

Benvenuto  Cellini  Helmet.  Italian  Court  ....  260 
Benvenuto  Cellini  Shield  and  Helmet.  Italian 


Court 316 

Brass  Corona.  Mitchell  & Vance,  New  York  . . . 307 
Brass  Gate.  “ “ “ • • 331 


Brazen  Salver,  Engr.aved.  Egyptian  Court  ....  353 

Bronze  Alhamisra  Vase.  Spanish  Court 218 

Bronze  and  Crystal  Chandelier.  Mitchell  & Vance, 


New  York 145 

Bronze  and  Marijle  Clock  and  Vase.  Mitchell  & 

Vance,  New  York 226 


Bro.nze  Candel.aura.  Collective  Exhibit  of  France  . 41 1 

Bronze  Candelabra.  M.  Luton,  Paris 450 

Bronze  Helmet  OF  Henry  IV.  Italian  Court  . . . 150 

Bronze  Inkst.and.  Henri  Perrot,  Paris 107 

Bronze  Jardiniere.  M.  Luton,  Paris  • 432 


Bronze  Lajip.  “ “ 450 

Bronze  I.amp.  Collective  Exhibit  of  France  ....  207 
Bronze  Lamp  and  Stand.  Collective  Exhibit  of 

France  393 


Bronze  Railing.  Mitchell  & Vance,  New  York  . . 147 
Bronze  St.vnd  and  Vase.  Collective  Ex.  of  France  . 197 
Bronze  St.vnd.ard.  Mitchell  & Vance,  New  York  . 196 

C.VNDEl.abra.  French  Collective  Exhibit 247 

Candelabra.  Susse  freres,  Paris 112 

Candelabra — Louis  XIV.  Susse  freres,  Paris  . . . 259 


PAGE. 

Challenge  Prize  of  the  Nation.al  Musical  Union. 


Cox  & .Son,  London 8 

Chandelier.  Cornelius  & Son,  Philadelphia  ....  20 
Chandelier  and  Hall  L.\mp.  Cornelius  & Son,  Phila- 
delphia   42 

Chandelier.  Mitchell  & Vance,  New  York  ....  29 

Chimney-Piece.  M.  Marchand,  Paris 61 

Clock.  Austrian  Court 341 

Clock.  Susse  freres,  Paris 113 

Clock — Louis  XIH.  Susse  freres,  Paris 258 

CoRNEii.E  Clock.  French  Collective  Exhibit  ....  141 
Copies  from  Antique  Statuary.  Italian  Court  . . 422 

Cupid  and  Psaxhe  Statue.  Italian  Court 401 

Egyptian  Column  and  Bust.  Mitchell  & Vance, 

New  York 9^ 

Egyptian  Clock.  Mitchell  & Vance,  New  York  . . 97 
Greek  Vase.  Mitchell  & Vance,  New  York  ....  97 

Hall  Lamp.  Joint  Stock  Co.  of  Berlin 295 

Hercules  AND  Stag.  Elkington,  London 472 

Hindoo  Bronze  Vase.  Indian  Court 512 

Jewel  Casket.  Austrian  Court 375 

Lampidiare.  Susse  freres,  Paris 100 

Lamp.  Japanese  Court 3^4 

Lamp,  Pillar  and  Epergne.  German  Court  . . . 250 

Mercury— Bronze.  Italian  Court O9 

Ormolu  Clock.  French  Collective  Exhibit 293 

Phryne  St.atuette.  Susse  freres,  P.aris 163 

Pitcher.  Collective  Exhibit  of  France 202 


LIST  OF  ILLUSTRATIONS 


vi 


PAGE. 

S.'VNCTUARY  L.amp.  Mitchell  & Vance,  New  York  . . 246 

Shield  of  Francis  I.  Italian  Court 151 

Shield  of  Henry  IV.  “ “ 261 

Snake  Charmer.  Cox  & Son,  London 15 

Table  Lamp.  German  Court 294 

Vase.  Japanese  Court 172 

Vase.  “ “ 173 

Vase.  “ “ 282 

Vases.  “ “ 128 


CABINET  FURNITURE. 


Bedstead — Renaissance.  Herts  & Co.,  New  York  . 26 

Bent-Wood  Furniture.  Austrian  Court 420 

Book-Case.  Prof.  E.  Gijani,  Italy 47 

Buffet  or  Sideboard.  Allen  & Bro.,  Philadelphia  . 13 

Buffet.  Collinson  & Lock,  London  240 

Cabinet.  “ “ “ 492 

Cabinet.  Collinson  & Lock,  London 168 

Cabinet — Side  View.  Collinson  & Lock,  London  . . 169 
Cabinet.  Cooper  & Holt,  London  ^ . 409 

Cablnet.  Cox  & Son,  London 345 

Cabinet  and  Chimney-Piece.  Cooper  & Holt,  London,  349 
Cabinet,  Inlaid  with  Ebony  and  Pearl.  G.  Parvis, 

Cairo,  Egypt 55 

Cabinet,  Inlaid  with  Rosewood  and  Pearl.  G. 

Parvis,  Cairo,  Egypt  24 

Carv'ED  Bf.dste.AD.  Ferrie  & Bartolozzi,  Florence  . . 387 

Carved  Cabinet.  Italian  Court 431 

Carved  Cabinet.  “ “ 440 

Carved  Mirror  Frame.  Italian  Court 292 

Carved  “ “ “ “ 361 

Carved  Panel.  Luigi  Frullini,  Florence 136 

Chair.  R.  Mazaroz,  Paris 17 1 

Console  Table.  Wright  & Mansfield,  London  . . . 476 

Door,  .\llen  & Bro.-,  Philadelphia 39 

Ebony  Cabinet.  O.  B.  Frederick,  Dresden 241 

Ebony  Inlaid  Cabinet.  S Coco,  Italy 321 

Hindoo  Sandal-Wood  Casket.  Indian  Court  . . . 519 

Mantel-Piece.  Cox  & .Son,  London 21 1 

Oak  Cabinet.  Snyers,  Rang  & Co.,  Brussels  . . . .153 
Walnut  Book-Case.  F.  Romenelli,  Florence  ....  285 

Walnut  Cabinet.  Frullini,  Milan 470 

Wardrobe.  G.  Volmer 73 

Wood  Carvinu.  Luigi  Frullini,  Florence 236 

PoMPEii.AN  Ruin — Wood  Carving.  Italian  Court  . . 274 

Sideboard.  Cooper  & Holt,  London 264 

S1DEB0.ARD.  Wright  & Mansfield,  London 288 


CARPETS. 


Brussels  Carpet.  Netherlands  Court 176 

Brussels  Carpet.  Spanish  Court 367 


Kidderminster  Carpet.  J.  Templeton  & Co., 

. Glasgow 337 

Kidderminster  Carpet.  Tomkinson  & Adam, 

England 382 

Kidderminster  Carpet.  Tomkinson  & Adam, 

England 388 

Kidderminster  Carpet.  Tomkinson  & Ad.am, 

England 463 

Kidderminster  Carpet.  Tomkinson  & Adam, 

England 491 

Turkey  Carpets.  Biglow  Carpet  Co.,  Boston,  Mass.  . 51 

Tapestry  Carpets.  French  Court 377 

Wilton  Carpet.  J.  Templeton  & Co.,  Glasgow  . . . 413 

Wilton  Carpet.  *•  “ “ . . . 433 


CASHMERE  FABRICS. 


Shawl.  Compagnie  des  Indes 500 

Shawl.  “ “ 501 

Shawl.  Exhibit  of  Saxony 217 

Shawl.  “ “ 496 


CHINA,  MAJOLICA,  FAIENCE  AND  POTTERY. 


Aurora  Vase.  Royal  Porcelain  Works,  Berlin  . . .178 
Ceramics  AND  Ivory.  Egyptian  Court  . .....  .482 
“ Pipe  AND  Swinging  Vase.  Egyptian  Court  . 477 

China  Plaque  and  Basin.  French  Court 391 

Chimney-Piece.  Rorstrand  & Co.,  Sweden 71 

Dessert  Plates.  Brownfield  & Sons,  London  ...  43 

Dessert  Plates.  “ “ “ ...  44 

Earthen  Vessels.  Turkish  Court 188 

Faience.  Count  Von  Thun,  Klosterel,  Bohemia  . . . 490 

Faience.  French  Court 263 

Faience.  “ “ _ 460 

Faience  of  Gien  et  Loiret.  French  Court  ....  346 

Faience.  Indian  Court 272 

FAi'ENCE.  Russian  Court 273 

Faience.  “ “ 280 

Faience  Vase.  Italian  Court 394 

Font.  Doulton  & Co.,  London 28 

Fountain.  “ “ “ ^9 

Greek  Vases.  Daniell  & Son,  London 90 

Green  Crockery.  Turkish  Court 386 

German  Stoneware.  Merkelbach  & Wick,  Grenz- 

hausen I OS 

Group  of  Artistic  Pottery.  Gustafsberg  & Co., 

Sweden 9* 

Group  of  China.  Brown,  Westhead  & Co.,  Stafford- 
shire   379 

Group  of  China.  Brown,  Westhead  & Co.,  Stafford- 
shire   3^* 

Group  of  Lambeth  Faience.  Doulton  & Co., 

London  .r  . . 251 


TO  THE  INDUSTRIAL  ART  OF  THE  EXHIBITION,  1876. 


Group  of  Lambeth  Faience.  Doulton  & Co., 

London  315 

Group  of  Vases.  German  Court 210 

Hindoo  Water  Bottles.  Indian  Court 517 

Jardinieres  and  Vases.  French  Court 300 

Krug  Jug.  Count  Von  Thun,  Klosterel,  Bohemia  . . 356 

Krug  Jugs.  Austrian  Court 318 

Loiret  Faience.  French  Court 453 

Majolica  Clock  and  Weather-Glass.  Daniell  & 

Son,  London 130 

Majolica  Epergne.  Daniell  & Son,  London  ....  429 
“ Epergne.  “ “ “ . . . . 281 

“ Flower  Vase.  “ “ “ . . . . 182 

“ Fountain.  “ “ “ . . . . 289 

“ Fruit  Stand.  “ “ “ . . . . 478 

Majolica  Promethean  Vase.  D.iniell  & Son, 

London 224 

Majolica  Vase.  Daniell  & Son,  London 159 

Ornamental  Tiles.  Brown,  Westhead  & Co.,  Staf- 
fordshire   371 

Orna.mental  Tile  Mantel-Piece.  Minton,  Hollis  & 

Co.,  London 385 

Ornamental  Tiles.  Minton,  Hollis  & Co.,  London  . 418 
Ornamental  Tile  Mantel-Piece.  Minton,  Hollis  & 

Co.,  London 419 

Palissy  Plate.  Barbizet  & Son,  Paris 232 

Pitchers  of  Faience.  Doulton  & Co.,  London  . . 428 
Porcelain  Krug.  Count  Von  Thun,  Klo.sterel, 

Bohemia 234 

Porcelain  Ornaments.  Japanese  Court 291 

Porcelain  Plaque.  French  Court 243 

Porcelain  Tea  Service.  Royal  Porcelain  Works, 

Berlin 215 

Porcelain  Vase.  Chinese  Court 239 

Porcelain  “ “ “ 265 

Porcelain  “ “ “ 475 

Porcelain  Vase.  French  Court 252 

Porcelain  “ “ “ 262 

PoRCELAi.N  Vase — God  of  Contentment.  Chinese 

Court 301 

Porcelain  Vase.  Japanese  Court 395 

Porcelain  Vases.  Austrian  Court 336 

Porcelain  V.ases.  Chinese  Court 509 

Porcelain  Vases.  Japanese  Court 290 

PoRCEL.MN  Vases,  (Sir  Richard  Wallace).  Daniell  & 

Son,  London 1 17 

Vase.  Royal  Porcelain  Works,  Berlin 79 


Vase  of  Sevres  Ware.  French  Government 
Vases,  (Porcelain).  Daniell  & Son,  London 
Vases  of  Sevres  Ware.  French  Government 
Vases  “ “ “ 

Vases  “ “ 

Vases  ’ • • • • “ “ 


• 137 

• 49 
. 221 

• 449 

• 474 
. 506 


PACE. 

Vases  of  Sevres  Ware.  French  Government  . . . 507 
Wine  Cooler.  Royal  Porcelain  Works,  Berlin  ...  79 

ECCLESIASTICAL  FURNITURE,  VESSELS, 
AND  ORNAMENTS. 

Altar  Cloth.  French  Court 198 

Banner  and  Stole.  Belgian  Department 339 

Candelabra.  Hart  & Son,  London 369 

Carv'ed  Church  Seat.  Ferri  Bartalozzi,  Florence  . 183 
Carved  Pulpit.  J.  A.  & H.  Goyers,  Louvain, 

Belgium i^g 

Chandelier.  Hart  & Son,  London 412 

COM.MUNION  Service.  Cox  & Son,  London 233 

Communion  Vessels.  R.  P.  Poussielgue,  Paris  . . . 368 

Crucifix.  R.  P.  Poussielgue,  Paris 225 

Lectern.  Hart  & Son,  London 445 

Monumental  Brass.  Singer  & Co.,  Frome,  England,  298 
Monumental  “ « « <*  ....  299 

Pulpit.  Hart  & Son,  London 444 

Stole.  Belgian  Department 406 

ENAMELED  WARE. 

Card  Case.  French  Court 229 

Casket  (Jewel).  Emile  Philippe,  Paris 109 

Enameled  Plaque.  Ovchinikoff,  Russia 485 

Enameled  Plaque.  Elkington  & Co.,  London  . . . 502 
Enameled  Reproduction.  Elkington  & Co.,  London,  485 

Pelican  Vase.  Chinese  Court 155 

Vases.  French  Court ’ 503 

FANS. 

Decorated  Fans.  French  Court 186 

Decorated  “ “ “ 310 

Lace  Fans.  French  Court 31 1 

GLASS— CUT,  COLORED  AND  ORNAMENTAL. 

Blue  Plaque.  Lobmeyer,  Vienna 384 

Bohemian  Glass  Vase  and  Pedestal.  Lobmeyer, 

Vienna 269 

Bohemian  Glassware.  Austrian  Court 362 

Crystal  Chandelier.  J.  Green  & Nephew,  London,  461 
Cut-Glass  Decanter.  James  Millar  & Co.,  Edinburgh,  443 
Cut-Glass  “ “ “ “ 508 

Cut-Glass  Decanters  and  Goblets.  J.  Green  & 

Nephew,  London 396 

Crystal  Epergne.  English  Court 332 

Crystal  Pitcher  (Engraved).  J.  Green  & Nephew, 

London 357 

Decanter,  Engraved  Glass.  English  Court  . . . 334 
Decanter,  “ . “ “ "...  335 

DessF.rT  Dishes.  Lobmeyer,  Vienna 423 


LIST  OF  ILLUSTRATIONS 


PAGE. 

Epergne.  Lobmeyer,  Vienna 192 

Epergne  and  Candelabra.  Lobmeyer,  Vienna  . . 35 

Glass  Hanging  Lamp.  Egyptian  Court 479 

Group  of  Bohemian  Glass.  Lobmeyer,  Vienna  . . 355 

Group  of  Colored  Glass.  “ “ . . 67 

Jardiniere  and  Plaque.  “ “ . . 328 

Jeweled  Scent-Bottle.  French  Court 329 

K.alian  or  Pipe.  Persian  Court 466 

Mirror.  Lobmeyer,  Vienna 37 

Persian  V.\se  and  Pedestal.  Lobmeyer,  Vienna  . . 93 

Table  Glassware.  Lobmeyer,  Vienna 108 

Vase  and  Epergne.  “ “ 441 

V.vse  of  Colored  Glass.  “ “ 84 

Venetian  Glassware.  “ “ 216 

“ Mirror.  “ “ 222 


GOLD  AND  SILVER. 


Antique  Chalice.  Elkington  & Co.,  London  . . .315 
Antique  Drinking-Cup.  Elkington  & Co.,  London  . 314 
Aurora  Plaque.  Elkington  & Co.,  London  ....  487 

B.vsket.  Trostrup,  Norway 317 

B. vtiisheba  Plaque.  Elkington  & Co.,  London  . . .351 

Beer  Jug.  M.  Sassikoff,  Russia 400 

Bryant  Vase.  Tiffany  & Co.,  New  York 276 

Buffalo  II U.NT.  Meriden  Britannia  Co.,  Connecticut  . 45 
Candelai;r.\.  M.  Christensen,  Copenhagen  ....  87 
Card  Case,  Filigree  Silver.  C.  Salvo  & Sons,  Genoa,  166 
Card  Case,  “ " “ “ “ 479 

Card  Receivers,  &c.  M.  Iloury,  Paris 378 

C. asKET  (Jewel)  and  Engk.wed  Lid.  Erhard  & Sons,  1 15 

^Century  Vase.  Gorham  Manufacturing  Co 52 

Century  Vase,  Details  of.  Gorham  Manufacturing 

Co .' 53 

Chess  Table.  Elkington  & Co.,  London 160 

Chess  T.vble,  Top.  Elkington  & Co.,  London  . . . 161 
Chili  Cup.  Reed  & Barton,  Taunton,  Massachusetts  . 83 
Crepuscule  Plaque.  Elkington  & Co.,  London  . . . 4S8 

D. VMASCENED  Casket.  Elkington  & Co.,  London  . . 483 

Dancing  P'aun  Plaque,  Elkington  & Co.,  London  . 365 
Dessert  Group.  Elkington  & Co.,  London  ....  309 
Dessert  Service.  “ “ “ ....  206 

Dessert  Service.  Meriden  Britannia  Co.,  Connecticut,  187 
Entree  Dish  (Repousse).  J.  E.  Caldwell  & Co.,  Phika- 

delphia  40 

Epergne.  E.  G.  Zimmerman,  Ilanau 392 

Epergne.  Elkington  & Co.,  Birmingham 206 

Epergne,  The  Neptune.  Meriden  Britannia  Co.  . . 22 

I'.viRY  Plaque.  Elkington  & Co.,  London 364 

Flower  Stands  and  Music  and  Poetry  Vase. 

Elkington  & Co.,  London 370 

Helicon  Vase.  Elkington  & Co.,  London 135 

Industrial  Cup.  Elkington  & Co.,  London  ....  421 


FACE. 


Jardiniere.  Reed  & Barton 213 

Jewel  Casket.  C.  Salvo  & .Sons,  Genoa 483 

Jewel  Casket.  E.  G.  Zimmerman,  Hanau 330 

Jewel  Casket,  Lid.  E.  G.  Zimmerman,  Hanau  . . . 436 

Mirror  Frame.  Emile  Phillipe,  Paris 144 

Mirror  (Silver  Framed).  Elkington  & Co.,  London,  81 
Neptune  Tazza.  Elkington  & Co.,  London  ....  230 

Perfume  Box.  Ritter  & Co.,  Hanau 437 

Ph/ETON  Cup.  Elkington  & Co.,  London 473 

Pitcher  (Repousse).  J.  E.  Caldwell  & Co.,  Phila- 
delphia   10 

Plated  Tea  Service.  Reed  & Barton,  Taunton, 

Massachusetts 426 

Plated  Tea  Service.  Reed  & Barton,  Taunton,  Massa- 
chusetts   427 

Pompeiian  Toilet  Plaque.  Elkington  & Co.,  London,  125 
Progress  Trophy.  Reed  & Barton,  Taunton,  Massa- 
chusetts   63 

Punch-Bowl  and  Cups.  Middletown  Plate  Co.,  Con- 
necticut   208 

Punch-Bowl  and  Goblets.  Meriden  Britannia  Co., 

Connecticut  ...••■ 60 

Punch-Bowl,  Silver  and  Gilt.  M.  Sassikoff,  Russia,  148 

Race  Cup.  Tiffany  & Co.,  New  York 6 

Repousse  Pl.\ted  Pitchers,  Etc.  Reed  & Barton, 

Taunton,  Massachusetts  271 

Salver.  Ritter  & Co.,  Hanau 417 

Silver  and  Glass  Centre-Piece.  Elkington  & Co., 

London 415 

Silver  and  Glass  Centre-Piece.  Elkington  & Co., 

London  416 

Silver  Casket.  Austrian  Court 399 

Silver  Epergne.  Reed  & Barton,  Taunton,  Massa- 
chusetts   425 

Silver  Fairy  Table.  Elkington  S:  Co.,  London  . . 458 
Silver  Fairy  Table,  Top.  Elkington  & Co.,  London,  459 
Silver  Plateau.  E.  G.  Zimmerman,  Ilanau  ....  99 

Silver  Tazza.  Emile  Phillipe,  Paris 209 

Silverware.  Queensland  Court 181 

Tankard.  Emile  Phillipe,  Paris 165 

Tea  Service.  Bailey  & Co.,  Philadelphia 85 

Tea  Service.  M.  Christensen,  Copenhagen  . . . .132 

Tea  Services.  “ “ 435 

Tiustimonial  Vase.  Tiffany  & Co.,  New  York  . . . 237 
The  Months’  Plaque  and  Imprudentia  Tazza. 

Elkington  & Co.,  London 4S0 

The  Seasons’  Plaque.  Elkington  & Cc.,  London  . . 284 

The  Vhking  Vase.  Swedi.sh  Court 424 

Tureen  and  Salver  (Repousse).  J.  E.  Caldwell  & 

Co.,  Phil.adelphia 40 

Washington  Race  Cup.  Tiffany  & Co.,  New  York  . 256 
Water  Pitcher.  Reed  & Barton,  Taunton,  Massa- 
chusetts t ..  174 


TO  THE  INDUSTRIAL  ART  OF  THE  EXHIBITION,  1876. 


IX 


INTERIOR  DECORATIONS. 


Upholstered  Budoir.  Carrington,  De  Zouche  & Co.,  121 
Wall  Paper — La  Margarete.  Jeffrey  & Co.,  London,  5 

IRON  AND  STEEL  WORK. 

Enlarged  Side  Gate.  Barnard,  Bishop  & Barnard  . 343 
Fountain.  The  G.  L.  Mott  Iron  Co.,  New  York  . . 106 

Iron  Bedstead.  Peyton  & Peyton,  London 448 

Iron  Fire-Place.  Steel  & Garland,  Sheffield  ....  383 

Jewel  Casket.  Emile  Phillipe,  Paris 484. 

Jewel  Casket,  Damascened.  Zuloaga  & Son,  Madrid,  238 
Mirror  Frame,.  Damascened  Iron.  Zuloaga, 

Madrid 156 

Ornamental  Furnace  Door.  Swedish  Court  . . . 498 
Ornamental  Gate.  Barnard,  Bishop  & Barnard  . .175 

Ornamental  Iron  Work.  Swedish  Court  ....  430 

Plaque  of  Iron.  Zuloaga  & Son,  Madrid 184 

Steel  Fire-Place.  Steel  & Garland,  Sheffield  . . . 344 
Sunflower  Railing.  Barnard,  Bishop  & Barnard  . 403 
The  Amazon  (Bronzed  Zinc).  The  G.  L.  Mott  Iron 

Co.,  New  York 270 

The  Seasons  Gate.  Barnard,  Bishop  & Barnard  . . 342 
Wrought-Iron  Flower-Stand.  Barnard,  Bishop  & 

Barnard 185 

Wrought-Iron  Gate.  H.  R.  Ives  & Co.,  Montreal  .111 


JEWELRY. 

Bracelet.  Krumbugel,  St.  Petersburg 278 

Bracelets  and  Pin.  Krumbiigel,  St.  Petersburg  . . 375 

Brooches.  Emile  Phillipe,  Paris 123 

Brooches  and  Ear-Rings.  Krumbugel,  St.  Petersburg,  374 

Cairngorm  Brooches.  English  Court 360 

Cameos.  Starr  & Marcus,  New  York 456 

Diamond  Bonbonniere  M.  Boucheron,  Paris  . . . 279 
Diamond  Necklace.  Starr  & Marcus,  New  York  . . 58 
Diamonds  and  Pearls.  United  States  Court  ....  489 

Ear-Rings,  Krumbiigel,  St.  Petersburg 340 

Ear-Rings.  N.  A.  Bellezza,  Rome  167 

Garnet  Set.  Goldschmidt,  Prague 223 

Gold  Bracelet.  German  Court 297  j 

Gold  Bracelet.  Turkish  Court 312 

Gold  Brooch,  Ear-Rings,  &c.  Morgan  & Deadly, 

Philadelphia 17 

Golden  Coronet  WITH  Cameos.  German  Court  . .167 

Gold  Necklace.  A.  Castellani,  Rome 297 

Gold  Necklace.  Egyptian  Court 214 

Irish  Bog-Oak  Brooches.  J.  Goggin,  Dublin  . . . 323 
Jeweled  Pendants.  Starr  & Marcus,  New  York  . . 279 

Necklace.  A.  Castellani,  Rome 191 

Necklace.  Jerardini,  Milan 333 

Necklace.  “ “ 374 

Necklace.  N.  A.  Bellezza,  Rome 190 


PAGE. 

Necklace.  N.  A.  Bellezza,  Rome 326 

Necklace.  “ “ 327 

Necklace  and  Breastpin.  Morgan  & Deadly  . . . 103 
Necklace  and  Cross.  Salvo  & Co.,  Rome  ....  333 
Necklace  and  Ear-Rings.  A.  Castellani,  Rome  . . 199 
Necklace  and  Ear-Rings.  Egyptian  Government  . 123 
Necklace  of  Tortoise-shell.  J.  S.  Ad.ams  & Co.  . 36 
Necklace,  Pendant  and  Ear-Rings.  Geissel  & 

Dartung,  Danau 248 

LACE. 

Border.  Verde  de  Lisle  Bros.,  Brussels 494 

Border.  “ “ “ ••  235 

Collar.  (Women’s  Pavilion).  French  Court  . . . 348 

Corner  of  Robe.  Court  of  Switzerland 404 

Corner  of  Shawl.  “ “ 405 

Curtain.  Court  of  Switzerland 181 

Curtain.  English  Court 253 

Curtain.  French  Court 245 

Curtain.  M.  Jacoby,  Nottingham 455 

Curtain.  “ “ 495 

Curtain.  Verde  de  Lisle  Bros.,  Brussels 268 

Curtain.  “ “ “ “ 286 

Parasol  Cover.  Collective  Exhibit  of  Brussels  . .189 
Portion  of  Robe.  “ “ “ . . 205 

Portions  of  Shawls.  Court  of  Switzerland  ....  201 

Sh.vwl.  Collective  Exhibit  of  Brussels 179 

Shawl.  French  Court 283 

Shawl.  “ “ 363 

Shawl.  Verde  de  Lisle  Bros.,  Brussels 447 

Window  Curtain.  Maison  Blanc,  Paris 373 

Window  “ “ “ “ 414 

Window  Curtain.  Deyman  & Alexander,  Not- 
tingham   244 

Window  Curtain.  Deyman  & Alexander,  Not- 
tingham   446 


Window  Curtain.  Simon,  May  & Co.,  Nottingham  . 157 

LEATHER  GOODS,  SADDLERY,  BOOK- 
BINDING, ETC. 

Bookbinding.  M.  Lortic,  Paris 325 

Bookbinding.  “ “ 407 

C.VRD  Casf-S.  German  Court 471 

Harness — Two  Saddles  and  a Bridle,  Egyptian 


Court 467 

Saddle-Bag.  Egyptian  Court 220 

MARBLE,  GRANITE,  ETC. 

Chimney-Piece.  F'rench  Court 389 

Marble  Font.  Struthers  & Sons,  Philadelphia  . . . loi 

Memory.  New  England  Granite  Co.,  Hartford,  Con- 
necticut   34 


LIST  OF  ILLUSTRATIONS  TO  THE  INDUSTRIAL  ART. 


PAGE. 

Onyx  Vase.  French  Court 242 

The  Minute  Man.  New  England  Granite  Co., 


Hartford,  Connecticut 18 

MUSICAL  INSTRUMENTS. 

Ebony-Cased  Piano.  Hallet,  Davis  & Co.,  Boston  .120 

Ebony-Cased  Piano.  R.  Ibach  & Son,  Barmen, 

Germany 227 

Organ  (Eastlake).  Mason  & Hamlin,  Boston  ...  32 

Walnut  Organ — Ornamental  Carving.  Mason  & 

Hamlin,  Boston 204 


PRINT  PATTERNS. 

The  American  Print  Works.  Fall  River,  Massa- 


chusetts   77 

STAINED  GLASS  WINDOWS. 

“Feed  My  Sheep.”  W.  H.  Constable,  England  . . 358 
“ Mary  Has  Chosen  the  Better  Part.”  W.  H. 

Constable,  England 359 

St.  Paul,  Samuel  West,  New  York ii 

The  Birth  OF  Christ.  F.  X.  Zettler,  Munich  . . .313 
The  Sermon  on  the  Mount.  Cox  & Son,  London  . 75 


TAPESTRY  AND  NEEDLE-WORK. 

Aubusson  Tapestry.  French  Court 398 

Bed-Cover.  Japanese  Court • 228 

Chair.  French  Court 304 

Chair.  “ “ 305 

Curtain.  Royal  School  of  Needle-Work,  London  .177  ' 

Curtain  Borders.  Royal  School  of  Needle-Work, 

London 277  j 

Curtain  Borders.  Royal  School  of  Needle-Work, 

London 347  ^ 

Cushions  and  other  Designs.  Royal  School  of  | 

Needle- Work,  London 95 

Designs  from  Panels  of  Tapestry.  Belgium  Court,  195 

Door-Hanging.  Royal  School  of  Needle-Work,  1 

London 65  j 

Embroidered  Chair.  Royal  School  of  Needle-Work, 

London 127 


FAGS. 


Fire-Screen.  Royal  School  of  Needle-Work,  London,  249 
Fire-Screen.  “ “ “ “ “ 372 

Fire-Screen  and  Commodes.  Royal  School  of 

Needle-Work,  London 143 

Panel  of  Tapestry.  French  Court 302 

Panel  “ “ “ 303 

Panels.  French  Court 465 

Panels.  “ “ 499 

Pin-Cushion.  Royal  .School  of  Needle- Work,  London,  257 
Sofa  Covered  with  Tapestry.  French  Court  . . .170 
Tapestry,  after  Thorwaldsen’s  Christ  and  the 

Apostles.  English  Exhibit 133 

The  Queen’s  Curtain.  Royal  School  of  Needle- 

Work,  London 200 


TERRA-COTTA. 

Eve  Nursing  Cain  and  Abel.  Watcomb  Terra-Cotta 


Co.,  England 254 

Faun.  Italian  Court 410 

Ganymede.  The  Window  Ipsen,  Copenhagen  . . . 402 

Lavori.  Italian  Court 408 

Nymph  and  Concha.  Watcomb  Terra-Cotta  Co., 

England 30 

Sappho.  Watcomb  Terra-Cotta  Co.,  England  ....  12 

The  Amazon  Vase.  Doulton  & Co.,  London  . . . .138 

The  Grapplers.  S.  H.  Godenius,  Stockholm  ...  72 

Thorwaldsens  Ganymede.  The  Widow  Ipsen, 

Copenhagen  255 

Vases — Antique  Reproductions.  The  Widow  Ipsen, 

Copenhagen 25 


TISSUES,  SILK,  DAMASK,  ETC. 


Figured  Silk.  Beauvais,  France 194 

Figured  Silk.  Collective  Exhibit  of  France  ....  193 

P'URNITURE  Silk.  Beauvais,  France 267 

Furniture  “ “ “ 481 

Furniture  Silk.  Russian  Court 376 

P'URNITURE  Silk.  Saxony  Court 442 

Furniture  “ “ “ 452 

Furniture  Silk.  Spanish  Court 454 

Table  Cover.  Turkish  Court 397 


ELECTROTYPED  BY  MACKELLAR,  SMITHS  k JORDAN,  PHILADELPHIA. 


PRINTED  BY  GRANT,  FAIKES  k RODGERS,  ITIILADELPHI A. 


THE 


Industrial  Art 


OF  THE 


International  Exhibition 


15V 


Vol.  II. 


WALTER  SMITH 


E*iter(d.  according  to  Act  of  Congress,  in  the  year  iSjS,  f>y  GEBBIE  Gr  BARKIEt 


in  the  Office  of  the  Librarian  of  Congress,  at  fVashington. 


The  International  Exhibition  1876. 


ISTORY,”  it  has  been  said,  “repeats  itself;”  and  this  saying,  like  many 
other  glibly-worded  truisms  which  have  become  proverbial,  has 
been  repeated  so  often  that  its  true  meaning  is  often  lost 
sight  of.  Of  course,  where  the  same  general  conditions  exist, 
it  is  reasonable  to  suppose  that  similar  effects  will  be  produced; 
and  since — as  has  been  justly  observed — the  repetitions  that  are 
recorded  in  historical  chronicles  are  the  result  of  periodical  recurrences 
of  great  combinations  of  events,  coupled  with  certain  general  coincidences 
in  the  motives  and  aims  that  govern  and  influence  human  conduct,  the 
careful  inquirer  would  probably  discover  under  the  motives  and  aims 
that  suggested  the  celebration  of  the  nation’s  centenary  by  a grand  International 
Exhibition  of  the  world’s  products,  the  same  condition  of  things  as  actuated 
Europe  and  England — at  intervals  in  the  past — to  institute  similar  displays.  It 
is  evident,  however,  that  before  there  can  be  repetition  there  must  be  precedent, 
and  while  we  may  be,  and  probably  are,  following  in  the  same  grooves  as  other 
older  nations,  we  are,  to  all  intents  and  purposes,  making  our  own  history; 
and,  as  in  this  instance,  to  the  great  majority  of  our  people  such  an  event  as 
this  Exhibition  is  an  absolutely  new  experience. 

Of  the  inestimable  practical,  as  well  as  speculative  or  theoretical  advantages 
of  periodical  illustrations  of  the  world’s  progress  we  have  spoken  in  another 
place,  our  province  here  is  simply  to  direct  attention  to  one  particular  depart- 
ment of  this  Exhibition.  But  what  a grand  and  comprehensive  division  it  is ! 
Industrial  Art!  The  union  of  the  two  gfreat  elements  of  civilization — Industrv. 


4 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


the  mere  mechanical,  manual  labor,  and  Art,  the  expression  of  something  not 
taught  by  nature,  the  presentation  of  that  ideal,  the  mere  conception  of  which 
raises  man  above  the  level  of  savagery. 

In  ancient  times  the  Arts  comprised  two  great  divisions:  the  Liberal  and 
the  Servile.  The  latter  were  about  equivalent  to  what  we  to-day  call  mechanical 
arts,  and  they  received  the  name  of  servile  because  their  practice  was  relegated 
to  the  slaves ; whereas  the  Liberal  Arts,  which  included  grammar,  dialectics, 
rhetoric,  music,  arithmetic,  geometry  and  astronomy,  were  practiced  by  freemen 
alone.  At  the  present  time,  however,  the  world,  while  retaining  the  former 
term,  makes  a different  division.  We  speak  of  the  Fine  Arts  as  distinguished 
from  those  which  are  simply  useful  or  mechanical ; and  by  Fine  Arts  we  mean 
poetry,  music,  sculpture,  painting  and  architecture.  But  when  we  add  to  an 
article  which,  in  itself,  supplies  a mere  bodily  want,  such  ornamentation  as  makes 
it  lovely  or  pleasing  to  look  upon,  attractive  to  the  eye,  ministering  to  the  wants 
of  the  mind,  we  at  once  place  it  in  that  great  middle  ground  between  Fine 
Art  and  mere  mechanical  execution,  which  is  known  as  the  field  of  Industrial 
Art. 

Thus,  only  excluding  the  production  of  raw  material.  Industrial  Art  might 
be  made  to  include  every  branch  of  labor.  But,  as  a matter  of  fact,  the  appli- 
cation of  art  to  industry,  while  affecting  all  branches  of  manufacture,  has  found 
its  chief  expression  in  a number  of  special  directions ; as  in  the  decoration  of 
textile  fabrics,  whether  by  stamping  a pattern  on.  or  weaving  it  in  to,  the  material ; 
in  the  making  of  tapestry,  lace  and  embroidery ; in  ornamental  printing  and 
bookbinding;  in  furniture,  upholstery,  paper-hangings  and  papier-^ndche ; in  the 
manufacture  of  iron,  steel  and  copper,  and  especially  in  braziery;  in  working  the 
precious  metals  and  their  imitations,  as  in  jewelry ; and  in  the  production  of 
glass  and  pottery. 

This,  then,  is  the  scope  of  this  division  of  our  Catalogue,  and  it  shall  be  our 
endeavor  to  illustrate  these  pages  with  examples  of  the  most  admirable  and 
artistic  specimens  of  the  widely  different  Art  Industries  contained  in  the  Exhibition. 
To  point  out  their  particular  merits,  to  give  such  descriptions  of  their  construc- 
tion as  will  be  of  interest  to  the  unlearned  as  well  as  the  learned  reader,  and 
to  give  such  general  information — wherever  it  is  pertinent — on  the  details 
of  the  manufacture  as  will  render  the  work  a valuable  book  of  reference  both 


I ND  US  TR  I A L A R T. 


5 


La  Margarete  Paper:  Jeffrey  Co.,  London. 


6 


THE  INTERNATIONAL  EXHIBITION,  1876. 


for  the  artist,  the  manufacturer  and  the  artizan,  and  for  the  student  of  Industrial 
Art. 

Before  entering  upon  the  work  of  illustration,  however,  it  will  be  well  to  give 
some  general  rules  by  the  application  of  which  any  one,  no  matter  how  ignorant 
of  historical  art,  or  of  those  superb  examples  of  manufacture  made  in  days 
“when  art  was  still  religion,”  when  the  artist  and  the  artizan  were  one,  may  form 


Race-Cup,  Silver  : Tiffany  &•  Co. 


comparatively  a just  estimate  of  the  claims  of  an  object  of  Industrial  Art  to  be 
considered  worthy  of  commendation.  The  first  thing  to  do,  in  this  as  in  all 
other  branches  of  industry,  is  to  consider  the  purpose  for  which  the  object  has 
been  made.  Exercise  common-sense.  If  it  is  something  for  use — say  a shovel 
— do  not  let  the  eye  distract  the  judgment  by  dwelling  upon  the  beauty  of  its 
ornamentation.  Look  at  it  from  a utilitarian  standpoint.  Ask  the  question, 
does  it  accomplish  its  use?  If,  on  the  other  hand,  it  is  an  object  of  ornament, 
as  a brooch,  the  questions  of  design  and  ornamentation  are  of  primary  import- 
ance. In  both — shovel  and  brooch — the  quality  of  the  workmanship  is  the  next 


IND  U ST  RIAL  ART. 


7 


consideration.  Is  it  good,  honest  work,  or  is  it  sham?  And  in  both,  too,  the 
taste  and  skill  displayed  in  the  application  of  ornament  or  decoration  of  any 
kind,  above  and  beyond  what  their  utility  requires,  is  the  third  and  final  consider- 
ation. The  first  requirement  from  that  which  proposes  to  serve  is  efficient 
service ; the  next,  elegance  of  manner  in  which  the  service  is  performed.  If  an 
object  is  so  lacking  in  good  design  as  to  be  homely,  it  is  poor  work  ; if  it  is 
so  loaded  down  with  ornamentation  as  to  be  unhandy  or  useless,  it  is  bad  work. 
The  happy  mean  between  the  two,  which  combines  the  utility  that  serves  the 
body  with  the  beauty  that  satisfies  the  mind,  constitutes  true  art. 

Our  first  illustration  is  an  engraving  representing  a beautiful  specimen  of 
Paper-Hanging,  manufactured  by  Messrs.  Jeffrey  & Company,  Paper-Stainers, 
of  London,  especially  for  this  Exhibition.  The  design  was  furnished  by  Mr. 
Walter  Crane,  also  of  London,  an  architect  of  ability  who  has  recently  been 
making  a specialty  of  interior  decoration,  artistic  designs  for  furniture,  etc.  Mr. 
Crane  has  given  this  paper  the  name  of  “La  Margarete,”  and  the  daisy  has 
been  chosen  as  the  motive  of  the  design,  in  the  Chaucerian  sense : — 

As  she  that  is  of  alle  flowres  flour. 

Fulfilled  of  all  virtue  and  honour 
And  ever  alike  fair  and  fresh  of  hue. 

Prologue  : Legend  of  Good  Women. 

The  frieze  shows;  “The  God  of  Love,  and  in  his  hand  a Queen,” — Alcestis, 
the  queen  of  wives — crowned  with  the  daisy  and  clothed  in  its  colors  as  Chaucer 
describes  in  his  Prologue,  quoted  above.  Next  in  order  are  placed  as  not 
inappropriate  attendants  on  the  ideal  wife,  such  domestic  virtues  as  Diligence, 
Order,  Providence  and  Hospitality,  which  will  not  be  considered  out  of  place  in 
any  house,  and  may  fitly  be  represented  as  caryatides  supporting  the  roof. 
Between  the  figures,  the  alternate  plants  suggest  the  text  inscribed  below  them 
from  Chaucer’s  “ Flower  and  the  Leaf.”  In  the  daisy  pattern  below  is  intro- 
duced the  burden  of  the  song  in  praise  of  the  flower  from  the  same  poem : — 

“Si  douce  est  la  Margarete.” 

This  pattern  in  the  paper  consists  of  four  rows  of  festoons,  but  we  have  been 
obliged  to  cut  off  two  of  them  in  order  to  reduce  the  engraving  to  the  size  of  our 
page.  In  the  Dado,  the  Purity  and  Innocence  which  the  poet  does  not  “clepe 
folye,”  is  further  symbolized  by  the  Lilies  and  the  Doves. 


Challenge  Prize  of  the  National  Musical  Union : Cox  &•  Sons.  London. 


INDUSTRIAL  ART. 


9 


Turning  now  from  this  admirable  production  of  Mr.  Crane’s,  we  give  an 
illustration  of  a totally  different  branch  of  industry,  in  a specimen  of  work  from 
the  establishment  of  one  of  our  own  manufacturers.  The  “Comanche  Cup”  is 
exhibited  by  Messrs.  Tiffany  & Co.,  of  New  York.  The  main  figure  represents 
a Comanche  hunter  armed  with  a rifle,  clinging  dexterously  to  a galloping  mustang 
in  such  a way  as  to  shield  his  body  and  retain  the  use  of  his  arms  for  defence  or 
attack.  The  bas-relief  on  the  pedestal  is  a fine  specimen  of  repousse  chasing. 
Including  the  base,  it  is  wrought  wholly  of  sterling  silver. 

That  our  readers  may  have  an  opportunity  of  comparing  the  art  workman- 
ship of  this  country  with  that  of  other  nations  in  a department  of  art — that  of 
the  goldsmith — which  is  not  only  one  of  the  most  ancient,  but  also  one  of  the 
most  durable  in  the  world,  we  give  on  the  preceding  page  an  illustration  of  a 
celebrated  production  of  the  Messrs.  Cox  & Sons,  London.  This  beautiful  work 
is  from  a design  made  by  Mr.  S.  J.  Nicholes,  architect,  of  London,  and 
was  selected  from  eighteen  other  designs  furnished  by  other  artists  of  note.  It 
was  selected  in  open  competition  for  the  Challenge  Prize  of  the  National 
Musical  Union,  valued  at  ^looo,  and  was  executed  for  the  Crystal  Palace  Com- 
pany by  Messrs.  Cox  & Sons. 

The  design  consists  of  a loving-cup,  that  is,  a cup  holding  sufficient  liquor 
to  allow  of  its  being  passed  round  among  several  persons — a custom  doubtless 
originated  at  the  ancient  love-feasts  or  Agapae — supported  by  a peflestal  and 
platform,  all  of  silver  gilt,  richly  adorned  with  enamels  and  jewels ; the  whole, 
with  the  cover,  standing  over  36  inches  high.  The  cup  itself  is  10)^  inches 
high,  and  is  enriched  with  repousse  work,  filigree  work,  enamels  and  engraving. 
The  enamels — which  are  beautifully  executed — comprise  figures  of  Saint  Cecilia 
and  King  David.  The  bowl,  10  inches  in  diameter,  is  supported  on  a stem  and 
foot  of  varied  plan,  and  is  pierced  with  tracery  and  adorned  with  jewels.  The 
inscriptions  and  devices,  which  are  in  enamel  and  engraving,  upon  the  stand  and 
also  upon  the  cup  commemorate  the  object  of  the  design.  The  cover  is  sur- 
• mounted  by  a crown  and  wreath  enamelled,  and  the  latter  encloses  a shield  on 
which  is  engraved  the  title  and  device  of  the  society  which  won  the  cup.  This 
shield  is  so  made  that  it  can  be  hung  within  the  wreath  or  suspended  in  one  of 
the  panels  of  the  cover  as  the  prize  changes  ownership,  or,  rather,  holding.  The 
pedestal  is  18  inches  square,  and  comprises  a platform  surrounded  by  open 


lO 


THE  INTERNATIONAL  EXHIBITION,  1876. 


tracery  and  enamelled  scrolls,  bearing  suitable  inscriptions.  Each  angle  is  occu- 
pied by  canopied  niches,  containing  statues  of  Guido,  Aretino,  Palestrina,  Handel, 
and  Mozart. 

It  would  be  interesting  to  describe  the  processes  which  such  a piece  of 
work  as  this  undergoes  from  the  time  the  drawing  of  the  design  is  put  in  the 
hands  of  the  modeller  until  it  comes  from  the  polisher  all  burnished  and  ready 


for  exhibition.  Such 
a description,  to  be 
done  properly,  would 
take  up  more  space 
than  could  be  given 
to  it  at  the  present 
time,  but  while  we 
are  upon  the  subject 
we  can  speak  of  one 
branch  ofgoldsmith’s 
work  which  is  rep- 
resented in  the  arti- 
cle we  have  Just  de- 
scribed and  which 
is  excellently  well 
illustrated  in  a Pit- 
cher from  the  Phila- 
delphia house  of  J. 
E.  Caldwei.l  & Co. 
This  sort  of  work  is 


Pitcher ; Repousse  Silver : y.  E.  Caldwell  <&>  Co. 


called  repousse, ysWOix 
expresses  with  exact- 
ness the  method  of 
its  production.  In 
this  Pitcher — for 
example — after  the 
base,  bowl  and  neck 
had  been  formed  and 
the  lip  hammered 
into  shape,  the  flori- 
ated pattern  was 
penciled  iy3on  its 
surface  and  then,  by 
means  of  blunt  chas- 
ing tools,  was  ham- 
mered outward,  not 
to  the  form  in  which 
it  now  appears,  but, 
so  to  speak,  in  mas- 
ses. Thus,  one  of 


roses,  which  now  shows  each  leaf  with  distinctness,  was  simply  a smooth, 
rounded  surface,  like  an  apple.  After  the  design  had  been  raised  in  this 
manner  to  its  proper  heights,  the  pitcher  was  filled  with  a cement  of  pitch  and 
rosin,  which  hardens  and  makes  a solid  foundation  for  the  chaser  to  work  upon. 
This  man  then,  with  other  chasing  tools,  goes  over  the  details  of  the  pattern  and 
works  into  position  the  parts  which  are  to  be  “ set  back,”  or  repousse.  The 
chaser’s  work,  although  it  has  nothing  to  do  with  the  designing,  is  very  important 
and  requires  skilled  and  artistic  workmen,  for  it  is  in  their  power  to  give  to  a 


INDUSTRIAL  ART 


St.  Paul;  Stained  Glass : Samuel  IVest. 


12 


THE  INTERNATIONAL  EXHIBITION,  1876. 


poor  design  considerable  finish  and  expression,  or  to  ruin  a fine  pattern  by  working 
it  in  a spiritless,  characterless  manner.  This  process  has  always  been  a favorite 
one  on  account  of  the  fine  artistic  effects  of  which  it  is  capable. 

In  a subject  like  that  which  we  illustrate  on  the  preceding  page  the  engraving 
speaks  for  itself.  It  is  a design  for  a stained  glass  window  exhibited  by  Mr. 
Samuel  West,  of  Boston.  The  figure  itself  will  be  recognized  at  once  as  that 


of  the  Saint  Paul 
in  Raphael’s  cele- 
brated picture  of 
Saint  Cecilia.  Of 
course,  it  is  impos- 
sible to  give  even 
a suggestion  of  the 
rich  color  which 
ap pears  in  the 
stained  glass,  but 
the  imagination  can 
conceive  the  effect 
of  the  sunlight  il- 
luminating the  halo 
round  the  head, 
making  it  a veri- 
table nimbus,  and 
enriching  the  scar- 


Sappho ; Watcomb  Terr-Cotta  Company. 


let  and  embroidery 
•of  the  robe  with 
tints  such  as  even 
Raphael  could  not 
paint. 

The  engraving 
on  this  page  is  se- 
lected from  the  ex- 
hibits of  the  Wat- 
comb Terra-Cotta 
Company  of  Eng- 
land. It  is  a 
beautiful  example 
of  the  high  artistic 
qualities  of  a ma- 
terial too  little  em- 
ployed in  this  kind 
of  work.  Terra- 


cotta— meaning  burned  or  baked  clay — has  been  used  from  the  earliest  ages 
as  a material  for  jugs,  jars  and  ornamental  figures,  and  during  the  five  centuries 
preceding  the  seventeenth  it  was  largely  used  by  the  Italians  in  architectural 
decoration.  In  England  its  manufacture  became  an  important  industry  toward 
the  end  of  the  last  century,  and  it  was  much  used  instead  of  carved  stone  orna- 
mentation. A notable  modern  example  of  this  is  in  the  handsome,  facade  of  the 
South  Kensington  Museum,  where  its  superior  adaptability  and  durability  for 
such  uses  has  been  proven.  Michael  Angelo  employed  this  material  in  making 
models  and  sketches  for  his  work,  and  it  is  used  in  that  way  to  this  day. 
But,  when  a material  is  capable  of  such  fine  manipulation  as  to  produce  this 


INDUSTRIAL  ART. 


13 


Buffet  or  Sideboard : Allen  Brother.  Philadelphia. 


Sappho  and  to  be  employed  in  large  masses — as  for  the  ornamentation  of  a 
building — its  value  in  Industrial  Art  can  hardly  be  over-estimated. 


14 


THE  INTERNATIONAL  EXHIBITION,  1876. 


On  the  previous  page  we  illustrate  an  article  of  furniture,  the  importance 
of  which,  as  a means  of  making  or  marring  the  artistic  appearance  of  an  apart- 
ment can  hardly  be  over-estimated.  In  England  this  piece  of  furniture  would 
be  called  a Buffet,  but  in  this  country  it  is  almost  universally  known  as  a Side- 
board. The  prominent  position  which  a sideboard  occupies  in  a dining-room, 
its  use  for  the  display  of  silver  and  china,  as  well  as  for  the  necessary  articles 
pertaining  to  the  meals  while  the  latter  are  going  on,  make  the  consideration 
of  artistic  design  and  harmony  in  its  construction  a matter  of  primary 
importance. 

The  subject  of  our  illustration  is  an  admirable  specimen  of  its  kind,  and 
is  an  excellent  example  of  the  character  of  the  workmanship  for  which  its 
manufacturers,  the  Messrs.  Allen  & Brother,  of  Philadelphia,  have  more  than 
a mere  local  reputation.  The  wood  principally  used  in  the  construction  of  this 
handsome  piece  of  furniture  is  American  walnut,  the  veneering  of  the  panels 
and  fillets  being  French  walnut.  The  under  portion  of  the  sideboard  is  divided 
into  three  parts,  each  of  which  contains  a closet  for  the  safe-keeping  of  china, 
etc.  The  doors  to  these  closets  are  paneled  and  ornamented  with  artistic 
designs.  On  either  side  of  the  outer  divisions  rise  walnut  columns,  with  orna- 
mental bases  and  capitals,  supporting  slabs  of  French  Jasper.  Above  these 
slabs  rises  the  back  of  the  sideboard,  its  middle  portion  being  occupied  by  one 
large  sheet  of  plate-glass,  separating  the  two  sides,  which  also  are  backed  by 
plate-glass  from  each  other.  In  front  of  these  latter  an  artistic  arrangement 
of  shelves,  supported  by  floriated  pillars,  furnishes  a means  of  effectively  dis- 
playing rare  vases,  china  or  bric-a-brac  of  any  kind.  These  outer  columns  are 
surmounted  by  ornamental  vases,  which  serve  to  balance  and  give  harmony  to 
the  elaborate  entablature  which  surmounts  the  inner  columns.  The  carving 
upon  the  upper  portion  of  this  is  well  worthy  of  a careful  and  critical 
examination. 

For  many  years  France  has  asserted  and  maintained  her  supremacy  in  the 
manufacture  of  bronzes — a supremacy  doubtless  due  to  the  superiority  of  her 
Schools  of  Art,  where  her  workmen  are  specially  prepared  and  educated  in 
correct  principles  of  design.  In  this  special  industry — that  of  the  bronzists — a 
thoroughly  organized  and  widespread  system  of  education  prevails,  and  the 
result  to  the  nation  is  shown  in  what  has  been  almost  a monopoly  of  a par- 


INDUSTRIAL  ART. 


15 


ticLilar  industry  of  immense  pecuniary  value.  Recently,  however,  other  nations 
have  entered  the  held  in  competition  with  the  French  bronzists.  Germany  has 
developed  some  excellent  talent;  and  more  recently  England,  by  devoting 
herself  just  as  France  has  so  long  done — gradually  to  training  the  young 


workmen  up  from  the 
Art  School  to  designing 
and  modeling  for  metal- 
work— has  gained  for 
herself  an  excellent  rep- 
utation. Such  work  as 
is  exhibited  by  Messrs. 
Cox  & Son,  of  London, 
a house  whose  produc- 
tions are  known  all  over 
the  world,  could  not  be 
produced  by  any  but 
workmen  whose  educa- 
tion has  been  not  only 
in  the  workshop  and 
foundry,  but  also  in  the 
studio. 

We  ask  the  reader 
to  give  this  work  of 
art-manufacture  the  de- 
gree of  attention  which 
it  merits.  The  material 


Snake-Charmer:  Cox  &=  Son,  London, 


is  bronze — first  cast  in 
a mould,  and  afterwards 
finished  with  the  chisel. 
The  subject  is  an  Indian 
Snake-charmer,  a class 
of  men  frequently  met 
with  in  Asia  and  India 
and  throughout  the 
tropics.  Observe  the 
ease  and  gracefulness 
of  the  pose.  One  arm 
is  raised,  the  hand  hold- 
ing a wand  round  which 
the  snake  is  twined. 
The  man’s  head  is  bent 
backward  as  he  watches 
the  reptile,  while  in  the 
other  hand  he  holds  the 
small  pipe,  just  remov- 
ed from  his  mouth,  by 
which  he  has  created 
the  charm.  The  left 


foot,  placed  firmly  upon  the  ground,  supports  the  weight  of  his  body;  the  other, 
resting  lightly  upon  the  lid  of  the  closed  basket,  suggests  the  idea  that  the 
snake  upon  the  wand  is  but  one  of  several — the  others  being  confined  in  the 
basket.  The  figure  is  in  a sitting  posture,  and  yet  there  is  no  relaxation  to 
the  muscles.  We  can  see  that  the  man  is  on  the  qiii-vive,  though  the  moment 
chosen  is  one  when  he  naturally  would  be  perfectly  motionless.  Herein  lies 
one  of  the  greatest  merits  of  the  work  in  a purely  artistic  sense.  To  attempt 
to  convey  a sense  of  motion  in  a statue  or  carving  is  not  good  art.  Move- 


i6 


THE  INTERNATIONAL  EXHIBITION,  1876. 


ment  belongs  entirely  to  the  domain  of  the  painter.  The  Laocoon,  one  of  the 
grandest  works  of  ancient  art  preserved  to  us,  while  at  first  view  it'  may  seem 
to  contradict  our  assertion,  will  be  found  on  a careful  inspection  to  be  but  a 
proof  of  what  we  say;  and  we  do  not  remember  a single  instance  of  what  is 
generally  acknowledged  to  represent  the  best  efforts  of  antique  sculpture  which 
can  be  cited  against  us. 

We  turn  now  to  a branch  of  manufacture  which  is  but  a civilized  expres- 
sion of  a desire  inherent  to  human  nature — the  love  for  personal  adornment. 
It  is  the  same  in  the  savage  of  the  wilderness  as  in  the  citizen  of  Paris.  The 
Indian  woman  smearing  her  face  with  colored  clays,  the  negro  hanging  her 
string  of  shells  about  her  neck,  the  lady  at  her  toilette  fastening  jewels  in  her 
ears  or  clasping  a bracelet  upon  her  arm,  each  and  all  are  actuated  by  the 
same  desire  to  beautify  themselves.  The  art  of  the  goldsmith  and  jeweler 
owes  its  perfection  to  this  feeling.  On  the  next  page  our  engraving  illustrates 
specimens  of  this  work  from  the  establishment  of  Messrs.  Morgan  & Headley, 
of  Philadelphia.  Looking  at  these  objects  from  a utilitarian  standpoint,  what 
could  be  more  useless  than  they?  How  senseless  it  seems  to  weight  one’s 
body  down  with  metal  trinkets ! Fortunately,  however,  the  refinements  of 
civilization  find  other  expression  than  in  requiring  all  objects  to  be  useful. 

We  are  now  considering  its  other  great  want — the  ornamental.  Here  are 
six  pieces,  each  one  of  which  helps  to  supply  this  want.  Of  the  lockets,  all 
gain  increased  beauty  from  another  art,  of  which  we  shall  speak  at  some 
future  time — the  art  of  the  cameo-cutter  or  lapidary.  Each  of  the  designs  is 
different,  some  suggesting  the  study  of  antique  models,  others  the  artists’  own 
design.  The  cross  is  of  a different  pattern  from  any  of  the  other  specimens. 
It  is  made  in  two  different  colors  of  gold,  the  points  of  the  lighter-colored 
metal.  This  is  a favorite  style  of  workmanship  at  present,  and  is  capable  of 
excellent  effects.  The  sixth  specimen,  as  far  as  the  goldsmith’s  work  is  con- 
cerned, is  but  the  setting  of  a dozen  gems.  In  the  centre  of  the  pin  is  a large 
amethyst  surrounded  by  a narrow  rim  of  gold,  about  which  again  is  a string  of 
small  pearls.  The  whole  effect  is  very  neat  and  pretty. 

No  more  appropriate  exhibit  could  have  been  made  by  the  New  England 
Granite  Company,  of  Hartford,  Connecticut,  to  our  Centennial  than  the  spirited 
statue,  an  engraving  of  which  we  present  to  our  readers  on  page  18.  It  is  a 


INDUSTRIAL  ART. 


17 


statue  typifying  the  brave  company  of  men  who  banded  themselves  together  in 
the  early  days  of  the  Revolution,  swearing  to  be  ready  at  a moment’s  notice  to 
stop  whatever  work  they  might  be  at  and  take  up  their  arms  against  the  invader. 
It  is  a “Minute-Man,”  one  of  those  brave  fellows  whom  Paul  Revere,  in  his 


yewelry ; Morgan  &=  Headley. 


memorable  ride  of  the  i8th  of  April,  1775,  called  from  the  fields  and  the  plow, 
shouting  to  them  as  he  went  galloping  past,  “The  British  are  coming!”  In  a 
few  hours,  over  a hundred  men  of  the  “ train-band” — as  it  was  sometimes  called — 
were  collected  together,  and  the  next  morning,  under  gallant  Captain  John  Parker, 
the  little  band  stood  drawn  up  in  the  streets  of  Lexington  determined  to  fight 


i8 


THE  INTERN  ATI  0 N AL  EXHIBITION,  1876. 


for  those  liberties  which  were  dearer  to  them  than  life.  Every  schoolboy  is 
familiar  with  the  events  of  that  day— the  famous  19th  of  April — and  the  part 


Carl  Conrads.  Sc  xhe  Minute  Man  : New  England  Granite  Co. 


played  by  the  famous  Minute-Men  afterwards.  But  we  can  appropriately  intro- 
duce here  those  charming  verses  delivered  by  Ralph  Waldo  Emerson  on  the 


IND  U ST  RIAL  ART. 


»9 


unveiling  of  the  statue  last  year  on  the  one-hundredth  anniversary  of  the  famous 
battle : — 

By  the  rude  bridge  that  arched  the  flood, 

Their  flag  to  April’s  breeze  unfurled  ; 

Here  once  the  embattled  farmers  stood, 

And  fired  the  shot  heard  round  the  world. 

The  foe  long  since  in  silence  slept ; 

Alike  the  conqueror  silent  sleeps  ; 

And  Time  the  ruined  bridge  has  swept 

Down  the  dark  stream  which  seaward  creeps. 

On  the  green  bank,  by  this  soft  stream. 

We  set  to-day  a votive  stone  ; 

That  memory  may  their  deed  redeem 
When,  like  our  sires,  our  sons  are  gone. 

Spirit  that  made  those  heroes  dare 
To  die,  and  leave  their  children  free. 

Bid  Time  and  Nature  gently  spare 
The  shaft  we  raise  to  them  and  Thee. 


The  statue  itself  needs  but  little  description.  The  reader  can  see  for  him- 
self how  admirably  the  artist  has  embodied  the  idea.  The  man  stands  in  strong, 
free  position,  one  hand  resting  upon  the  plow  he  is  about  leaving,  the  other 
grasping  the  musket  is  extended  forward,  and  over  the  arm  is  thrown  the  cloak 
as  if  hastily  picked  up  at  the  sudden  summons.  The  face  wears  a look  of  deter- 
mination— the  look  of  one  who  is  ready  to  do  and  die  if  need  be — and  the 
sculptor  has  given  with  rare  art  a loftiness,  a look  almost  of  prophesy  to  the 
expression. 

Our  next  engraving  is  from  an  exhibit  made  by  a Philadelphia  firm,  who 
have  had  the  products  of  their  factories  in  every  one  of  the  great  exhibitions 
where  their  work,  by  its  beauty  and  finish,  as  well  as  its  artistic  design,  has  always 
attracted  great  attention.  But  Cornelius  & Sons,  the  firm  of  whom  we  are 
speaking,  quite  outdo  themselves  in  the  quality  of  the  work  they  have  prepared 
for  exhibition  in  this  our  first  great  International  Exposition.  The  illustration 
we  give  on  the  next  page  is  in  every  respect  a work  of  art.  It  is  a seventy- 
two-light  Chandelier  of  Lacquer  gilt  in  imitation  of  fine  unalloyed  gold.  In 
style  it  is  Greco-Medieval.  The  arcs  springing  from  the  central  globe  and 


20 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Chandelier  : Cornelius  Sons,  Philadelphia. 


INDUSTRIAL  ART. 


21 


supporting  the  highly  ornate  fixtures,  are  surmounted  by  “grotesques,”  intro- 
duced with  excellent  effect.  All  the  proportions  of  this  beautiful  piece  of  work 
have  been  carefully  studied,  and  the  result  is  before  us  in  this  illustration, — one 
of  the  most  graceful  and  harmoniously  arranged  specimens  of  this  famous  firm’s 
productions  which  we  have  seen. 

From  the  fine  collection  exhibited  by  the  Meriden  Britannia  Company,  we 
have  selected  for  illustration  the  beautiful  Epergne,  destined,  doubtless,  some 
day  to  adorn  the  board  of  some  lover  of  true  art.  Nothing  adds  so  much  to 
the  effect  of  a handsomely-arranged  table,  spread  for  a feast,  as  the  graceful 
centre-piece,  which  should  be  the  most  attractive,  as  well  as  elaborate,  piece  of 
table  ornament  present.  But  an  ornament  such  as  this  is  not  intended  to  be 
admired  only  in  the  dining-room  ; in  the  library,  in  the  parlor,  or  in  the  drawing- 
room it  is  equally  appropriate.  There,  its  various  receptacles  filled  with  tastefully 
arranged  flowers,  it  will  always  be  attractive.  The  Company  furnishing  this 
exhibit — which  we  present  on  the  following  page — make  a specialty  of  silver- 
plated  ware,  and  of  these  goods  their  immense  works  at  West  Meriden,  Con- 
necticut, turn  out  thousands  of  beautiful  specimens  each  year.  The  example 
before  us  is  an  Epergne  of  unusually  large  size.  It  stands  48  inches  in  height 
upon  a base  of  40  inches  in  length.  Its  general  material  is  what  is  usually 
called  German  Silver,  hardened  with  white  metal.  This  material  admits  of  a 
very  perfect  finish  either  in  silver  or  gilt,  both  of  which  methods  have  been 
used  in  the  present  instance,  and  the  whole  is  further  adorned  by  the  engraver’s 
chisel.  From  the  base — which  is  made  of  nickel-silver  polished  like  a mirror  to 
represent  water — rise  four  graceful  columns  supporting  a dome.  On  either  side 
of  the  pillars,  standing  in  shells  of  a conventional  pattern,  are  figures.  On  one 
side,  Amphitrite  drawn  by  walrusses ; on  the  other,  Neptune,  his  car  attached  to 
a pair  of  Tritons  who  are  heralding  his  approach.  From  the  centre  of  the  dome 
rises  a central  shaft  supporting  a bowl  of  very  graceful  design,  around  whose 
base  rise  four  arms  curving  outward  and  holding  suspended  from  their  extremities 
four  other  bowls  of  similar  pattern  to  the  first,  presenting  as  a whole  an  extremely 
graceful  and  appropriate  design. 

From  distant  Cairo  comes  one  of  the  gems  of  the  Exhibition,  of  which  we 
give  an  engraving  on  page  24.  It  is  a Cabinet,  designed  in  a style  of  the 
purest  Arabic,  one  of  the  contributions  of  the  celebrated  Parvis,  whose  atelier  i-s 


22 


THE  INTERNATIONAL  EXHIBITION,  1876. 


The  Nephine  Epergne  : Meriden  Britannia  Co. 


INDUSTRIAL  ART. 


23 


well  known  to  all  art  lovers  who  have  visited  the  interesting  city  of  the  East. 
This  fine  example  of  the  cabinet-maker’s  skill  is  built  of  sycamore-wood  and 
ebony.  It  is  inlaid  with  ivory  and  mother-of-pearl,  in  those  highly  effective 
patterns  that  are  at  once  the  admiration  and  the  wonder  of  other  nations. 
Every  detail  has  been  worked  up  and  studied  from  the  specimens  of  the  best 
period  of  Arabic  art.  Nothing  could  be  more  effective  than  the  result.  There 
is  but  little  carving — none  indeed  in  high  relief — and  yet  an  effect  has  been  pro- 
duced more  ornate  than  any  carving.  The  richness  of  the  tracery  in  the  central 
panel  is  particularly  fine,  and  taken  as  a whole  it  deserves  commendation  of  the 
highest  description.  The  possessor  of  such  a piece  of  work  as  this  Cabinet 
would  never  tire  of  it,  simply  because  the  harmony  of  its  parts  would  be  con- 
stantly asserting  themselves,  and,  like  in  a good  picture,  new  beauties  would  con- 
stantly be  revealing  themselves. 

This  form  of  decoration,  consisting  of  fantastic  combinations  of  flowers, 

fruits  and  branches,  or,  indeed,  of  almost  any  intertwinings  of  graceful  forms 

and  lines  in  a repetition  of  the  same  pattern,  is  a characteristic  of  Moorish 

architecture  that  has  been  given  a distinctive  name — Arabesque.  Ornamentation 

of  this  kind,  either  in  sculpture  or  painting,  has  been  found  wonderfully  effective; 

but  it  requires  the  exercise  of  the  nicest  discrimination.  The  perfection  of  its 

use  is  to  be  found  in  the  Alhambra,  the  most  perfect  specimen  of  the  best 

Moorish  architecture  existing  at  the  present  time.  Its  walls  are  particularly 

rich  in  Arabesques  of  various  patterns,  some  of  them  of  an  astonishing  intricacy 

and  beauty.  From  Arabia  the  use  of  this  style  of  ornamentation  spread  to 

Europe,  and  thence  over  the  civilized  world.  We  see  examples  of  it  every  day 

in  the  ordinary  decorations  of  our  walls  and  houses  and  in  the  ornamentation 

of  our  vessels  in  common  use.  Painters  and  sculptors  find  it  of  the  greatest 

assistance  in  making  effective  frameworks  for  their  productions.  Raphael’s 

\ 

famous  Arabesques  in  the  Vatican  will  be  recalled  by  many  of  our  readers;  and 
the  use  made  by  Kaulbach,  quite  recently,  of  some  of  these  forms  in  his  fresco 
painting  is  familiar  to  many.  I'or  the  cabinet-maker  a knowledge  of  the  best 
specimens  of  these  beautifully  artistic  designs  is  of  great  advantage.^  No  better 
treatment  of  precious  woods  in  marqueterie  has  been  found  than  to  follow,  or, 

rather,  to  learn  from,  the  forms  designed  by  the  old  Arabians.  Beautiful  as  is 

the  exact  imitations  by  the  Florentines  and  Indians  of  natural  objects  such  as 


24  the  international  exhibition,  1876. 


birds,  flowers,  etc.,  their  copies,  as.  a rule,  show  poverty  of  invention ; whereas. 


Cabinet:  G.  Farvis,  Cairo,  Mgypt. 


the  Moorish  work,  while  sufficiently  conventionalized,  shows  a freedom  from 
mannerism  and  richness  of  fancy  that  can  hardly  be  too  highly  commended. 


INDUSTRIAL  ART. 


25 


Our  next  illustrations  are  from  a region  the  antipodes  of  Egypt  in  climate 
and  character.  The  terra-cotta  manufactories  of  Copenhagen  are  among  its 
chief  attractions;  and  the  Widow  Ipsen’s  great  establishment  is  one  of  those 
to  which  all  travellers  pay  their  respects,  and  from  which  they  bring  back  the 


Vases,  Terra-Cotta  : The  Widow  Ipsen,  Copenhagen. 


conviction  that  Art  has  found  a home  amid  the  snows  of  Denmark,  The  firm 
is  fully  represented  in  the  Exhibition,  occupying  a separate  room  in  the  Danish 
department.  We  select  four  vases  and  a ewer,  which  fairly  illustrate  the  grace 
and  beauty  of  which  terra-cotta  is  susceptible  under  artistic  treatment. 


26 


r}IE  INTERNATIONAL  EXHIBITION,  iSj6. 


Bedstead,  Renaissance : Herts  Co, 


IN DUSTRIAL  ART. 


27 


The  baking  of  earth,  especially  of  the  stiffer  pipe-clays,  to  form  utensils, 
is  one  of  the  earliest  achievements  of  men  emerging  from  the  savage  state. 
At  first,  of  course,  there  was  no  attempt  at  ornament.  Then  a rough  checker- 
board pattern  was  scratched  upon  the  sides  of  the  pots  and  jars.  The  next 
stage  was  to  lay  a sort  of  scroll-work  in  black  glaze  over  the  earthen  ground; 
and  the  pattern  soon  developed  into  conventional  representations  of  plants  and 
animals,  of  which  the  graceful  foliated  pattern  around  the  neck  of  the  larger 
vase  is  a beautiful  instance.  A still  further  refinement  was  the  covering  of 
the  ground  with  the  black  glaze,  leaving  the  pattern  prominent  in  the  natural 
color  of  the  earth.  The  shape  of  the  vases  selected  is  simply  charming,  and 
gives  a striking  idea  of  the  ductility  of  the  material  to  the  shaping  of  fire. 
The  decoration  is  painting  by  hand,  and  the  artistic  feeling  evinced  in  the 
patterns  causes  a regret  that  the  finished  product  should  be  at  the  mercy  of 
a careless  servant.  But  this  is  an  age  when  we  have  our  treasures  in  earthen 
vessels,  and  we  must  assume  that  the  buyer  of  such  shapely  ware  will  suffer 
no  profane  hands  to  be  laid  upon  his  terra-cotta.  What  an  education  for  the 
eye  it  would  be  if  Mr.  Eastlake’s  suggestion  were  everywhere  adopted,  and 
the  tasteless  china  upon  our  wash-stands  replaced  by  this  beautiful  ware,  with 
its  Greek  figures  and  clear-cut  conventional  foliage! 

The  household  furniture  in  the  Exhibition  is  especially  worthy  of  note. 
The  English  division  abounds  with  beautiful  apartments,  fitted  up  with  all  the 
meublerie  of  a parlor,  dining-room  or  bed-room.  The  influence  of  the  South 
Kensington  Museum  and  of  the  Schools  of  Industrial  Art,  which  derive  their 
stimulus  from  that  Museum,  is  nowhere  so  apparent.  But  pending  the  estab- 
lishment of  similar  institutions  in  this  country,  we  have  some  good  work  to 
show.  The  bedstead  from  Messrs.  Herts  & Company,  of  New  York,  which  is 
represented  on  page  26,  is  in  the  “Renaissance”  style,  as  the  ordinary  phrase 
is — a style  sufficiently  comprehensive  to  cover  much  variety  in  design  and 
treatment.  The  richness  and  the  character  of  the  ornamentation  are  exceed- 
ingly striking.  The  contrast  of  the  birdseye  and  mottled  maple  with  the 
carved  mouldings  of  flowers  and  fruits,  of  St.  Domingo  mahogany,  is  very 
rich.  The  draperies  are  of  raw  silk,  drab  and  blue,  and  the  canopy  is  of 
light  blue  silk  tufted.  Notice  especially  the  graceful  ornament  in  the  circular 
panel  at  the  head  of  the  bedstead  proper.  It  represents  roses  branching  from 


28 


THE  INTERNATIONAL  EXHIBITION,  1876. 


a stem  in  true  Renaissance  fashion,  and  much  resembles  the  flower-pot  deco- 
ration shown  in  the  Margarete  wall-paper  on  page  5. 

A most  exquisite  display  of  Faience  ware  is  made  by  the  Doultons,  whose 
pottery  is  better  known  as  the  Lambeth  Faience.  The  general  characteristics 
of  this  pottery  are  well  known — its  softness  of  tone,  its  careful  contrasts  of 
subdued  tints  and  avoidance  of  brilliant  color.  This  is  combined  with  an 
elaborate  and  beautiful  ornamentation,  in  which  foliage  and  sometimes  gro- 


Font : Doulion  &=  Co.,  Lambeth,  London. 


tesques  alternate  with  compositions  in  low  relief  which  might  come  from  the 
hand  of  a painter.  Thus,  in  the  Font  which  is  the  subject  of  our  next  illus- 
tration, the  lower  part,  and  especially  the  sustaining  columns,  are  covered  with 
a delicate  tracery  of  leaves,  or  paneled  in  a minute  diamond-shaped  pattern, 
while  the  upper  projecting  portion  is  separated  by  smaller  columns  into  panels, 
each  of  which  is  occupied  by  a Scriptural  scene,  chosen  with  reference  to  the 
purpose  of  the  font.  The  beauty  of  these  panels  cannot  adequately  be 
represented  by  any  engraving;  but  our  picture  will  show  the  complexity  of 


INDUSTRIAL  ART. 


29 


I 


Chandelier : Mitchell  6^  Vance,  New  York. 


30 


THE  INTERNATIONAL  EXHIBITION,  1876. 


the  detail,  and  the  vigorous  attitudes  and  gestures  of  the  human  actors  in 
each  little  drama.  We  can  see  also  that  the  middle  panel  turned  towards  the 
spectator  represents  “The  Slaughter  of  the  Innocents,”  and  that  “The  Judgment 
of  Solomon”  and  “The  Adoration  of  the  Wise  Men”  are  the  subjects  respect- 
ively of  the  right  and  left  panels.  “The  Dove  of  Peace”  broods  over  the 
font.  Each  column  is  Avreathed  with  the  acanthus  or  the  lily.  There  is  a 
solidity  and  strength  in  the  architectural  arrangement  which  satisfies  the  eye. 


The  columns  seem 
worthy  supporters 
of  the  heavy  entab- 
lature, while  the 
finish  of  detail  is 
never  allowed  to 
mask  the  construc- 
tion. This  is  true 
Art,  Avhether  in  a 
church  or  a cabinet. 

Industrial  Art 
does  not  fully 
achieve  its  end  un- 
less all  articles  of 
domestic  use  are 
redeemed  from  the 
hopeless  ugliness 
into  which  they 
have  fallen,  so  that 


Nymph  and  Concha:  Watcomb  Terra-Cotta  Co. 


our  eyes  shall  be 
pleased  and  not 
pained  by  the  sur- 
roundings of  our 
daily  life.  It  is 
noteworthy  that 
most  of  this  ugli- 
ness is  produced 
by  the  desire  to 
decorate,  which,  in 
the  work  of  men 
destitute  of  artistic 
taste,  results  in 
meaningless  and 
disagreeable  per- 
version. There  Is 
a certain  beauty  in 
fitness,  and  a coal- 
scuttle or  a kitchen- 


pail  which  is  evidently  constructed  so  as  best  to  fulfil  its  purpose  is  fully 
justified.  If,  in  addition,  the  lines  of  structure  can  be  made  pleasing  to  the 
eye,  so  much  the  better ; but  the  first  requisite  is  that  the  thing  shall  do  honest 
work.  But  a curved  or  twisted  or  bedizened  piece  of  furniture,  whose  shape 
or  ornament  Interferes  with  Its  function,  is  hateful  to  gods  and  men.  Then, 
too,  we  must  recognize  that  some  pieces  of  furniture,  such  as  cabinets  or  side- 
boards, lend  themselves  naturally  to  a beautiful  construction,  while  others,  such 
as  chandeliers,  offer  much  greater  difficulty.  The  problem  is  to  suspend  a 


INDUSTRIAL  ART 


31 


large  and  heavy  mass  in  the  air,  and  yet  to  overcome,  by  the  grace  of  its 
outlines  and  the  beauty  of  its  ornament,  the  reluctance  of  the  eye  to  see  the 
law  of  gravitation  apparently  violated.  This  difficulty  proves  too  great  for 
most  designers,  and  frequently,  in  attempting  to  elaborate  and  ornament  their 
work,  they  fall  into  more  positive  ugliness.  A really  graceful  design,  there- 
fore, for  a chandelier,  deserves  much  higher  praise  than  the  facile  prettiness 
of  a vase.  Such  a design  is  shown  in  the  eight-light  chandelier  of  Messrs. 
Mitchell  & Vance,  of  New  York,  on  page  29.  Their  design  has  achieved  a 
decided  success  in  the  present  case.  The  ornamentation  is  elaborate  but  not 
overloaded,  and  the  chandelier  has  an  appearance  of  lightness  in  spite  of  its 
broad  girth.  The  bell  over  the  central  lamp  is  a happy  conception,  and  much 
of  the  glass  decoration  is  gracefully  executed.  The  designer  has  had  more 
difficulty  in  a construction  of  metal  than  he  would  have  met  with  in  glass, 
which,  we  are  glad  to  see,  is  coming  extensively  into  use.  There  is  something 
peculiarly  appropriate  and  artistic  in  the  use  of  glass  for  a centre  of  brilliancy, 
and  we  may  soon  hope  to  see  our  parlors  and  dining-rooms  lighted  up  by 
lustrous  chandeliers  which  shall  reflect  the  light  in  every  prismatic  color. 

“When  Music,  heavenly  maid,  was  young,”  Pan  piped  upon  a reed  and 
Apollo  played  upon  his  flute ; and  both  reed  and  flute  were  the  essence  of 
simplicity  and  grace.  When  David  exorcised  the  evil  spirit  from  Saul  with  his 
harp,  the  instrument  was  still  picturesque  and  beautiful.  But  when  music 
became  more  complex  and  more  specialized,  the  difficulty  of  putting  the  “soul 
of  sound”  into  a worthy  dwelling-place  became  evident.  What  can  be  uglier 
than  an  ordinary  piano,  with  its  carved  legs  supporting  a clumsy  oblong  mass 
of  mahogany  or  rosewood?  It  is  one  of  the  mysteries  of  cabinet-making  that 
we  cannot  get  straight-legged  furniture.  The  makers  have  got  it  into  their 
heads  that  the  curve  is  the  line  of  beauty,  and  it  is  of  no  use  to  urge  that 
the  grain  of  wood  is  straight,  and  that,  in  consequence,  every  deviation  from 
a right  line  must  detract  from  the  strength  of  the  material.  We  must  meet 
them  on  the  aesthetic  ground,  and  say  at  once  that  a bow-legged  piano  or 
table  is  as  ugly  as  a bow-legged  man. 

The  beauty  of  musical  instruments,  moreover,  should  always  lie  rather  in 
their  shape  and  adaptation  to  their  purpose  than  in  the  richness  of  their  orna- 
mentation, which  is  in  better  taste  if  subdued  and  simple.  In  this  respect  the 


32 


THE  INTERNATIONAL  EXHIBITION,  i8j6. 


instrument  selected  for  illustration  is  without  fault.  Messrs.  Mason  & Hamlin 
have  constructed  an  organ  which  we  doubt  not  has  all  the  excellent  qualities 


Eastlake  Organ  : Mason  Hamlin. 


of  tone  and  resonance  for  which  their  instruments  are  noted,  and  whose 
exterior  is  pleasant  to  the  eye.  The  decoration  is  quiet  and  massive,  and  often 


INDUSTRIAL  ART. 


33 


of  great  beauty.  It  is  conceived  in  the  Eastlake  design,  so  far  as  that  can  be 
carried  out  in  the  construction  of  an  organ.  Our  own  taste  would  suggest  an 
even  simpler  arrangement  of  the  mouldings  and  panelings,  and  a straightening 
of  the  lower  lines ; but  we  ought  to  be  sincerely  grateful  to  Messrs.  Mason 
& Hamlin  for  giving  us  an  instrument  free  from  all  the  abortions  in  the 
shape  of  ornament  with  which  many  pretentious  instruments  are  disfigured. 
The  public  taste  in  this  respect  is  rapidly  improving.  There  are  some  beautiful 
pianos  in  the  English  department  of  the  Exhibition — faultless  in  style  and 
taste,  though  generally  at  a price  beyond  the  ordinary  reach.  But  this  expen- 
siveness is  an  accident,  and  will  soon  disappear.  When  once  machinery  has 
been  constructed  for  turning  straight  legs,  straight  legs  will  be  no  more  costly 
than  crooked.  In  the  meanwhile  we  must  pay  the  penalty  for  living  in  an 
age  of  transition.  After  a time,  perhaps,  we  shall  not  regret  even  the  pipe  of 
Pan,  “blinding  sweet  by  the  river,”  or  the  flute  of  Apollo  victorious  over 
Marsyas.  That  sweet  easy  melody  of  an  age  when  performer  and  artificer 
were  one  has  given  place  to  grand  orchestras  and  full  choruses.  Music  has  a 
power  and  a scope  undreamed  of  by  the  ancients.  When  we  listen  to 
Wagner’s  Centennial  March,  we  feel  that  the  visible  form  and  body  of  so 
potent  a spirit  as  that  which  resides  in  a full  orchestra  is  a matter  of  secondary 
importance. 

Our  next  illustration  is  drawn  from  one  of  the  Fine  Arts — that  of  Sculp- 
ture— which  becomes  Industrial  only  by  its  adaptation  to  machinery  and 
susceptibility  of  reproduction.  We  do  not  expect  from  any  machine  the 
qualities  of  imagination  and  creative  thought  which  make  a great  sculptor,  yet 
when  the  conception  is  simple,  and  especially  when  the  shaping  hand  of  the 
artificer  is  allowed  to  give  the  final  touch,  the  result  may  be  a memorable 
one,  to  such  perfection  have  mechanical  processes  now  arrived.  Our  illustra- 
tion represents  a more  legitimate  use  of  such  appliances  than  American 
chromo-lithographs.  “Memory,”  from  the  workshop  of  the  New  England  Granite 
Company,  who  gave  us  the  fine  “Minute  Man”  already  illustrated,  is  repre- 
sented by  a female  figure,  whose  face  indicates  the  time  of  life  between 
girlhood  and  middle  age.  She  is  old  enough  to  have  a past,  regrets  and 
losses,  happy  and  unhappy  memories ; but  life  is  still  high  in  her  veins,  and 
the  future  is  still  before  her.  Her  thoughts  now  are  with  the  past.  She  is 


34 


THE  INTERNATIONAL  EXHIBITION,  1876. 


seated  on  a mass  of  rock,  in  the  attitude  of  remembrance  and  retrospection. 
Her  face  shows  a softened,  half-regretful  mood ; her  eyes  are  downcast  and 
half  closed ; she  has  forgotten  time  and  place.  The  left  hand,  lying  on  the 
lap,  liolds  a chaplet  of  roses.  The  right  arm  lies  across  the  left.  Notice  the 


ease  of  the  po- 
sition, and  yet  the 

and  comfortable 

meals.  The  savage 

absorption  indica- 

tears his  food  to 

ted  in  every  turn 

pieces  wherever  he 

of  limb.  One  knee 

finds  it.  He  passes 

is  raised,  and  the 

days  of  hunger,  and 

foot  supported 

makes  amends  by 

upon  a slab  of 

a gluttonous  feast. 

rock ; the  other 

The  civilized  man 

foot  is  upon  a 

eats  at  the  same 

lower  stone,  half 

hours  every  day, 

slipping  off,  yet 

and  surrounds  the 

supported  by  the 

time  and  place  of 

heel.  The  attitude 

f In  f '"ijbiMNKSiJ 

f ' liijrWSW 

his  dinner  with 

and  feeling  of  the 

safeguards  against 

statue  are  difficult 

interruption  and 

to  render  by  means 

appliances  of  com- 

of Industrial  Art, 

aMIKMrWXSamSBIS^wF,iiM  1 

fort.  Eating  as  a 

and  the  designer 

fine  art  may  be  said 

has  achieved  a re- 

to  have  begun  with 

markably  good 

the  Greeks,  who  lay 

result. 

on  couches  around 

Perhaps  there  is 

their  tables,  and 

no  surer  test  of 

"■  ''llilif  ll ' ii"'  ' ' ' 

--  -- — 

made  their  dinner 

civilization  than  the 

Alemory : New  England  Granite  Co. 

the  reunion  and 

desire  for  regular 

chief  event  of  the 

day.  The  Romans  followed  in  the  same  path ; and  when  manners  grew  milder 
with  the  decay  of  feudalism,  the  coarse  revel  of  the  great  hall  gradually  gave 
place  to  the  elegant  dinner  of  the  gentleman. 

The  luxurious  court  of  Louis  XIV  was  especially  noted  for  the  magnificence 


IND  U ST  RIAL  ART. 


35 


of  its  table  appointments;  and  in  more  recent  times  it  has  come  to  be  almost 
a test  of  refinement  that  a lady  shall  secure  for  the  inmates  and  guests  of  her 
house  a pleasant  hour  over  the  principal  meal  of  the  day,  when  the  cares  of 
the  morning  shall  be  laid  aside,  and  all  the  surroundings  shall  add  to  the 
gratification  of  the  palate.  No  single  element  is  so  necessary  to  this  result  as 


Epergne  and  Candelabra  : Lobmeyr,  Vienna. 


a pleasant  light.  The  brilliancy  of  gas,  desirable  in  some  ways  as  it  is,  has 
great  drawbacks.  Its  light  is  glaring  and  harsh,  and  when  thrown  into  the 
eyes  of  the  diner  is  extremely  disagreeable.  So  too  is  the  heat  which,  as  the 
meal  goes  on,  a large  chandelier  begins  to  radiate.  Then,  too,  the  position 
of  the  light,  directly  above  the  heads  of  the  guests,  is  very  amendable.  To 
meet  these  objections,  we  may  suppose,  Herr  Lobmeyer  has  designed  the 
Candelabra- epergne,  which  is  given  on  this  page.  A glance  will  show  how 


36 


THE  INTERNATIONAL  EXHIBITION,  1876. 


many  requisites  are  united  in  this  admirable  Epergne.  It  stands  upon  the 
centre  of  the  table,  holding  a dozen  wax  or  spermaceti  candles,  whose  soft 
light  is  equally  shed  on  every  side.  The  top  is  a bowl  for  flowers,  while  the 
larger  dishes  below  may  be  used  either  for  flowers  or  fruit,  according  to  the 
taste  of  the  hostess.  The  shape  of  the  Epergne  is  such  that  it  does  not 
interrupt  the  vision — a capital  point,  for  it  is  frequently  disagreeable  to  bei 
shut  off  from  your  vis-a-vis.  The  candelabra  are  simple  and  strong-looking, 
not  liable  to  break.  The  ornamentation  is  quiet  and  effective.  If  we  add  to 
the  Epergne  a pair  of  gas-burners  fastened  against  the  side  of  the  wall,  at 


Necklace,  Tortoise-Shell : y.  S.  Adams  Co. 


such  a height  as  not  to  be  offensive  to  the  eyes  of  the  guests  at  table,  we 
shall  have  the  perfection  of  light  in  our  dining-room. 

Tortoise-shell  is  a material  so  beautiful  in  itself,  and  in  some  respects  so 
easily  worked,  that  in  spite  of  its  fragile  nature  and  the  loss  which  manufac- 
turers undergo  from  breakage  in  the  process  of  working,  it  has  been  found  so 
profitable  as  to  insure  for  it  a permanent  place  in  our  jewelry  shops.  The 
play  of  light  upon  such  a necklace  as  that  represented  in  our  engraving,  from 
the  establishment  of  Messrs.  J.  S.  Adams  & Company,  Providence,  Rhode 
Island,  is  really  enchanting.  The  eye  loses  itself  in  the  soft  depths  of  the 


INDUSTRIAL  ART. 


37 


shell.  The  pattern  is  simple,  but  very  pretty,  and  the  pendant  shows  to  great 
perfection  the  beauty  of  the  material.  As  jewelry  for  the  morning,  to  wear 


Mirror : Herr  Lobmeyr,  p'ienna. 


against  a simple  house-dress  or  a walking-suit,  there  is  nothing  so  serviceable. 
It  is  easy  to  put  on,  beautiful  to  see,  contrasts  well  with  dress  of  any  color, 
and  is  comparatively  inexpensive.  An  artistic  design  is  nowhere  more  exquisitely 
effective  than  in  tortoise-shell. 


38 


THE  INTERNATIONAL  EXHIBITION,  1876. 


It  is  a curious  fact  that  for  many  centuries  before  glass  was  made  into 
plates,  or  thin  slabs  with  flat  surfaces,  it  was  blown  and  turned  and  twisted 
into  the  most  delicate  and  artistic  shapes,  such  as  bowls,  goblets  and  vessels 
of  all  sorts  for  holding  liquids,  and  some  of  the  more  ancient  specimens  of 
this  art — things  fragile  and  as  intricately  interwoven  as  a spider’s  web — pre- 
served uninjured  through  the  ages  that  have  witnessed  the  overthrow  and 
destruction  of  the  cities  where  they  were  made,  are  now  to  be  found  treasured 
in  our  museums,  the  wonder  and  despair  of  the  glass  factor  of  to-day. 

But  could  an  ancient  Phoenician,  say  one  of  those  who,  by  a process  now 
a lost  art,  constructed  one  of  these  fairy-like  vases — could  he  be  brought  face 
to  face  with  the  common  things  of  every-day  use  made  from  the  same  materials 
as  his  vase,  what  would  be  his  astonishment! — to  see  himself,  for  instance, 
reflected  in  the  Mirror,  on  preceding  page,  which  is  one  of  the  exhibits  of 
Lobmeyr,  of  Vienna.  Another  ego  looking  him  in  the  eye,  from  some  unde- 
finable  position  in  space — a moving,  breathing  human  being  whom  he  cannot 
touch,  whose  lips  move  but  do  not  speak,  who  walks  without  sound,  who 
vanishes  from  beyond  or  behind  the  frame  in  which  he  appears ! The  phe- 
nomena of  reflection,  to  us  so  simple,  would  be,  to  one  seeing  it  under  such 
circumstances,  above  all  things,  marvelous.  The  knowledge  that  he  was  looking 
at  his  own  image  would  not  come  until  later.  He  would  simply  see  a man  like 
himself,  moving  as  he  moved,  under  the  group  of  cupids  floating  above  him. 

But  to  us,  with  whom  the  use  and  character  of  the  mirror  is  familiar,  the 
special  attraction  is  not,  or  presumably  should  not  be,  what  we  see  reflected 
from  its  surface.  Certainly  our  present  interest  is  in  its  beautiful  surroundings. 
The  grace  and  artistic  merit  of  the  design  gilded  on  the  panels  of  the  side 
rails;  the  happy  way  in  which  the  leaf  and  flower  ornamentation  of  the  corner 
panels  is  treated ; the  harmony  of  all  the  minor  details  to  the  severe  simplicity 
of  the  whole — all  of  these  are  deserving  of  praise,  and  should  gain  for  the 
workmen  and  the  artist  places  in  the  first  rank  with  their  comrades.  The  idea 
of  using  the  surface  of  the  upper  part  of  the  mirror  as  a ground  on  which 
to  paint  a picture  is  peculiarly  charming — more  especially  for  such  a one  as 
this.  Obviously,  in  such  a position  and  on  such  a surface  but  one  idea  can 
be  conveyed  suitably;  that  is,  floating  in  the  air.  And  this  the  artist  has 
done  most  successfully.  It  is  a lovely  group,  well  conceived  and  capitally 


INDUSTRIAL  ART. 


39 


drawn  — the  little  cupid  guiding’  the  swan  seeming,  indeed,  to  be  floating 
along. 


Door:  Allen  6^  Brother,  Philadelphia. 


Our  next  engrravinor  is 

o o 

than  to  call  attention  to  its 


of  a kind  to  require  but  little  description  other 
technical  merits  and  to  indicate  the  materials  and 


40 


THE  INTERNATIONAL  EXHIBITION,  1876. 


method  of  its  construction.  It  represents  a pair  of  large  double  doors,  very 
highly  polished,  suitable  for  the  entrance  into  a drawing-room,  or  into  any  of 
the  more  elaborate  apartments  of  a mansion.  It  is  an  excellent  specimen  of 


Entree  Dish,  Repousse  Silver : y.  E.  Caldwell  Co. 


Tureen  and  Salver,  Repousse  Silver : y.  E.  Caldwell  <&*  Co. 


the  work  of  Messrs.  Allen  & Brother,  of  Philadelphia,  The  leaves  of  this 
door  are  composed  of  highly-polished  walnut,  with  ornamented  panels  of  alter- 
nate strips  of  precious  woods  of  different  colors,  giving  a pleasing  relief  and 


INDUSTRIAL  ART. 


41 


effect  of  light  and  shade.  Scroll  patterns  and  some  curved  lines  are  introduced 
into  the  lock-rail  and  break  the  severity  of  the  outlines.  On  each  of  the  main 
panels  a finely-finished  bit  of  hand-carving  has  been  affixed  by  way  of  orna- 
mentation, and  the  scroll  surrounding  them  is  happily  introduced  to  lighten  the 
upper  panels.  The  lower  divisions  of  the  jambs  are  inlaid  with  slabs  of 
finely-variegated  marbles,  above  which,  and  separated  by  fillets  of  a chaste 
design,  are  narrow  panels  of  the  same  precious  woods  as  the  door ; the  whole 
being  surmounted  at  the  lintel  by  an  elaborate  design  in  high  relief,  which 
gives  to  the  jambs  the  effect  of  pillars  of  which  these  reliefs  are  the  capitals. 

It  is  remarkable  that  common  as  was  the  use  of  doors  among  the  ancient 
Egyptians,  none  of  those  used  in  their  temples  have  ever  been  found.  But  that 
there  were  doors  is  evidenced  by  the  holes  in  the  side-posts  or  pillars  in  which 
the  hinge-pins  were  fastened.  It  is  possible  that  as  the  Egyptians  were  metal- 
workers these  doors  were  of  metal,  but  those  used  in  their  houses  were  usually 
framed  of  wood  and  often  stained  first,  as  at  the  present  day.  These  doors  were 
either  double  or  single,  and  fastened  by  a bolt  or  bar  similar  to  those  now  in 
use.  The  Bible  contains  many  allusions  to  the  door  and  entrance  to  the  house, 
and  in  several  places  allusion  is  made  to  the  custom  of  placing  a man  against 
the  door-post  and  pinning  his  ear  to  it  with  an  awl,  in  token  of  servitude.  In 
the  description  of  the  building  of  Solomon’s  Temple  we  have  the  following 
description  of  the  magnificent  carved  doors  of  the  oracle  and  the  temple: — 

“And  for  the  entering  of  the  oracle  he  made  doors  of  olive  tree:  the  lintel 
and  side  posts  were  a fifth  part  of  the  wall.  The  two  doors  also  were  of  olive  tree ; 
and  he  carved  upon  them  carvings  of  cherubim  and  palm  trees  and  open  flowers, 
and  overlaid  them  with  gold,  and  spread  gold  upon  the  cherubim,  and  upon  the 
palm  trees.  So  also  made  he  for  the  door  of  the  temple  posts  of  olive  tree, 
a fourth  part  of  the  wall.  And  the  doors  were  of  fir  tree:  the  two  leaves  of 
the  one  door  were  folding,  and  the  two  leaves  of  the  other  door  were  folding. 
And  he  carved  thereon  cherubim  and  palm  trees  and  open  flowers:  and  covered 
them  with  gold  fitted  upon  the  carved  work.” 

It  was  also  the  custom  in  Egypt  to  build  the  better  class  of  houses  with 
a porch  or  portico  in  front  of  the  entrance  door,  supported  by  columns 
elaborately  ornamented  with  wreaths  and  garlands,  decorating  the  frieze  also, 
and  inscribing  thereon  some  legend  of  greeting  or  welcome. 


42 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Another  custom  among  the  Egyptians  was  the  hanging  of  all  doors  opening 
on  the  street  in  such  a manner  that  they  opened  inward.  This  too  was  the 


Chandelier  and  Hall  Lamp : Cornelius  <5r=  Sons. 


custom  of  the  Romans,  where  it  was  made  requisite  by  law.  But  it  is  a curious 
fact  that  the  reverse  of  this  was  the  practice  in  Greece,  where,  when  a person 
was  about  going  out  of  a house,  he  took  the  precaution  to  give  several  loud 


I ND  US  TR  I A L AR  T. 


43 


raps  from  within  in  order  to  warn  passers-by  on  the  outside  that  the  door  was 
about  to  be  opened. 

Of  the  many  branches  of  manufacture  in  which  the  Exhibition  has  demon- 
strated the  ability  of  American  manufactures  to  compete  successfully  with  those 
from  abroad,  in  no  one  department  of  art-industry  at  least,  is  our  equality  with, 
and  indeed,  in  some  respects,  our  superiority  over  foreign  makers  shown  with 
greater  distinctness  than  among  the  workers  in  the  precious  metals.  In  silver- 
and  gold-smith  work  our  prominent  manufacturers  make  a display  that  we  may 
reasonably  point  to  with  pride.  The  house  of  Caldwell  & Co.  makes  a very 
attractive  show.  Their  repousse  work  occupies  the  prominent  place  its  merits 


Dessert  Plates  : Brownfield  6^  Sons. 


deserve,  among  their  other  precious  ware.  We  give,  on  page  40,  two  examples 
of  this  attractive  and  fashionable  manner  of  decorating  silver.  The  Tureen  is 
a veritable  chef-d'oeuvre.  The  graceful  shape,  antique  in  its  lines,  the  elaborate, 
yet  not  too  prominent  ornamentation,  and  the  fine  execution  of  the  work,  are 
all  worthy  of  the  reputation  of  the  firm  exhibiting  it.  The  Covered  Dish, 
though  less  pretentious,  is  worthy  of  notice.  A set  of  these  dishes,  or  such  as 
these,  could  worthily  be  used  in  serving  up  a feast  fit  for  the  gods.  Repousse 
work  could  hardly  do  more  than  has  been  done  with  this  dish.  It  is,  literally, 
entirely  covered  with  foliated  and  floriated  designs,  finely  finished  by  a skillful 
workman. 

Another  show  of  which  we,  as  Americans,  may  be  justly  proud  is  that  of 


44 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Cornelius  & Sons.  Our  illustrations  of  a Hall  Lamp  and  a Chandelier. 
shown  on  page  42,  are  taken  from  a collection  containing  many  specimens  equally 
meritorious.  In  these  days,  when  the  correct  furnishing  of  our  homes  is  a matter 
of  careful  study  and  reflection;  when  true  art  principles  are  beginning  to  prevail, 
and  attention  is  paying  to  the  fitness  of  means  to  ends ; people  are  making  search 
for  good  and  beautiful  forms  in  the  most  ordinary  appliances  as  well  as  in  the 
more  permanent  objects,  called  fixtures.  Cornelius  & Sons  have  not  only  met 
this  demand  in  their  special  line  of  goods,  they  even  have  stimulated  it  by 
exhibiting  freely  to  the  public  thoroughly  artistic  designs.  Such  a Hall  Lamp 
as  the  one  we  illustrate  is  as  much  an  ornament  to  the  apartment  it  illuminates 


Dessert  Plates : Brownfield  Sons. 


as  a statue  in  marble  or  bronze.  So,  too,  with  the  Chandelier:  the  elegance 
and  lightness  of  its  proportions,  the  richness  of  its  effect  when  all  its  burners 
are  lit,  is  most  noteworthy.  It  is  with  such  every-day  surroundings  as  these  that 
we  make  our  homes  really  and  truly  beautiful. 

Perhaps  one  of  the  most  astonishing  examples  of  the  adaptation  of  natural 
materials  to  ornamental  uses  is  given  in  the  art  of  the  potter.  The  fabrication 
of  rude  vessels  from  the  clay  of  the  earth  is  almost  as  old  as  the  hills  from 
which  the  clay  was  dug.  No  traces  of  peoples  or  forgotten  races  have  been 
discovered  without  the  discoverer  finding  fragments  of  their  pottery.  From 
these  rude  beginnings  grew  up,  little  by  little,  an  art  which  is  one  of  the  most 
universal  in  its  use  and  employments  of  artizans  of  the  industries  of  the  world. 


INDUSTRIAL  ART. 


45 


For  uncounted  centuries  China — that  treasure-room  in  which  we  are  constantly 
discovering  methods  and  appliances  which  were  thought  to  be  the  result  of 
our  own  modern  civilization, — China  has  been  making  that  form  of  pottery 
known  as  porcelain.  Its  manufacture  in  Europe  is  of  a comparatively  recent 
date,  and  in  England  still  later. 

Nevertheless,  English  potters,  with  characteristic  attention  to  detail  and 


Buffalo  Hunt : Meriden  Britannia  Company,  West  Meriden,  Conn. 


thoroughness  of  manipulation,  within  a few  years  of  the  establishment  of  the 
industry  among  them,  began  to  produce  ware  of  a superior  quality.  Only  in 
the  matter  of  design  and  ornamentation  were  they  excelled  by  their  more 
fortunate  European  brethren  who  were  artists  as  well  as  artisans. 

But  coming  down  to  the  present  period  of  Exhibitions,  we  see  in  the 
artistic  progress  England  has  made  since  her  first  World’s  Eair,  and  in  the 
effort  made  to  overcome  her  inferiority  in  the  way  of  decorative  china,  one  of 


46 


THE  INTERNATIONAL  EXHIBITION,  1876. 


the  most  striking  examples  of  the  benefit  of  these  great  competitive  exami- 
nations— for  this,  in  truth,  is  what  these  huge  shows  amount  to  in  their  best 
sense.  Such  illustrations  of  the  art-work  of  English  potters,  as  we  give  on 
the  preceding  pages,  is  worthy  of  any  Continental  modern  school.  The  Deco- 
rated Dessert  Plates,  shown  on  pages  43  and  44,  are  from  the  Staffordshire 
potteries  of  Messrs.  Brownfield  & Sons,  and  give  ample  proof  of  the  art- 
education  of  their  workmen.  It  is  really  quite  impossible  in  an  engraving  to 
give  even  a suggestion  of  the  delicate  color  which  blends  so  beautifully  with 
the  soft  porcelain  of  England,  but  our  artist  has  faithfully  reproduced  the  fine 
ornamentation  in  landscape  and  genre  pictures  which  distinguishes  these  speci- 
mens, We  give  four  different  styles  of  design,  each  beautiful  in  its  way, 
though  they  are,  to  our  thinking,  almost  too  beautiful  to  be  applied  to  the  use 
for  which  they  are  intended.  The  plate  with  the  landscape  medallion  and  the 
delicate  vine  spray  surrounding  it  we  should  be  tempted  to  frame  and  hang 
up  as  a plaque  rather  than  to  eat  off  of  it.  Nevertheless,  we  think  no  one 
would  object  to  owning  a service  of  such  plates  as  these  with  which  to  honor 
his  guests  at  a banquet. 

From  the  Meriden  Britannia  Company,  of  West  Meriden,  Connecticut, 
we  have  a group  in  the  fine  white  metal,  heavily  silver-plated,  which  is  their 
specialty,  representing  a scene  such  as  cannot  be  witnessed  outside  of  America. 
The  artist,  whom  we  feel  safe  in  pronouncing  an  American,  has  desired  to 
illustrate  something  exclusively  our  own.  With  this  intent  he  could  hardly 
have  chosen  anything  more  fully  answering  his  desire  than  the  characteristic 
group  shown  in  our  engraving  on  the  preceding  page.  It  is  a Buffalo  Hunt, 
not  as  practised  in  our  day,  when  the  poor  brutes  are  slaughtered  by  hundreds, 
for  mere  sport,  by  bands  of  white  huntsmen  armed  with  repeating  rifles,  but 
as  in  the  days  of  old,  before  the  crack  of  a firearm  was  heard,  when  the  Indian 
of  the  plains  hunted  his  game  with  the  spear  and  bow.  There  is  an  equality 
in  such  a contest  as  this  as  makes  the  group  one  of  thrilling  interest.  The 
supreme  moment  of  the  battle  has  been  chosen.  The  infuriated  bull,  wounded 
by  an  arrow,  has  turned  and  is  charging  the  hunter;  the  Indian,  firmly  bracing 
himself  upon  his  unbridled  steed,  whom  he  guides  by  the  pressure  of  the  knees, 
is  waiting,  with  uplifted  spear,  the  onset.  The  horse,  terrified,  yet  under  too 
good  control  to  fly,  snorts  and  paws  the  ground.  Action  is  expressed  in  every 


IND  US  TR I A L A R 7 


47 


muscle  of  each  figure  in  the  group;  and  one  cannot  but  feel,  after  looking  at 
it  for  a moment,  a certain  sensation  of  expectancy,  a wish  that  the  denotiement 


1 


Book-case : Prof.  E.  Gijani. 


! 

i 


could  be  acted  out, 
artist.  The  group 


which  are  sensations  attesting  the  realistic  power  of  the 
stands  twenty-one  inches  in  height  upon  a base  twenty- 


48 


THE  INTERNATIONAL  EXHIBITION,  1876. 


seven  inches  long.  It  has  been  carefully  and  skilfully  finished,  and  would  form 
a fine  centre-piece  for  a buffet  or  mantle-shelf, 

A beautiful  example  of  the  wonderful  wood-carving  for  which  the  Italians 
have  been  famous  since  mediaeval  times  is  the  Book-case  exhibited  in  the  Italian 
Court.  It  is  designed  and  carved  by  Prof  Egisto  Gijani,  of  Florence,  after 
the  style  practised  in  that  city  in  the  fifteenth  century.  The  material  is  Euro- 
pean walnut,  very  highly  polished.  The  base  and  plinth  are  inlaid  with  panels 
composed  of  figures,  grotesques  and  masques  carved  in  very  high  relief,  with 
supporting  columns  at  the  sides  of  a singularly  ornate  design.  A group  of 
cupids  standing  upon  a vase  support  another  vase  from  which  the  slender  shaft 
of  the  column  proper  rises.  Surmounting  the  top  is  a symbolic  group  of 
figures  supporting  a medallion  bust  of  Lincoln. 

It  is  in  looking  at  such  work  as  this  that  we  realize  how  greatly  the 
knowledge  of  what  is  fine  and  beautiful  in  decorative  carving  in  wood  is  due 
to  the  opportunity  for  study  and  training  which  a country  like  Italy,  so  rich  in 
the  best  examples  of  this  art  and  of  art  in  general,  can  afford.  The  study  of 
the  wonderful  carvings  at  Perugia  or  of  similar  works  of  the  highest  excel- 
lence Inspires  the  artisan  to  attempt  to  imitate  them.  Even  if  he  fails  he  has 
exercised  certain  art  impulses  in  the  right  direction ; and  this  process  acting 
through  the  individual  on  the  masses,  has  occasioned  that  modern  Renaissance 
that,  awakening  to  the  glory  of  mediaeval  art,  is  now  manifesting  itself  through- 
out Italy  in  two  ways — the  one  in  the  astonishingly  clever  imitations  of  tricento, 
qnattricento  and  especially  cinquecento  work,  which  is  calculated  to  deceive  even 
the  shrewdest  connoisseurs  by  the  likeness  to  the  original;  and  the  other  in 
an  endeavor  to  do  true,  honest  work,  using  the  old  masters  simply  as  instructors 
who  shall  guide  the  student  and  encourage  him  to  develop  his  own  ideas,  and 
not  become  a servile  imitator. 

The  immense  influx  into  Italy  of  wealthy  amateurs  and  ignoramuses,  the 
one  anxious  to  get  good  specimens  of  good  mediaeval  work,  and  therefore 
willing  to  pay  liberally,  the  other  determined  to  have  something  “antique,” 
because  it  seems  to  be  the  correct  thing  to  have,  and  as  a consequence  ready 
to  pay  exorbitant  prices,  has  given  a truly  astonishing  impulse  to  the  trade  of 
the  dealer  and  the  trade  of  the  imitator.  Rich  as  Italy  undoubtedly  was  in 
art-treasures  in  those  glorious  days  when  art  was  still  religion  and  religion 


INDUSTRIAL  ART. 


49 


found  expression  in  art,  if  but  half  the  stuff  annually  carried  off  from  her  cities 
since  then  was  genuine,  she  would  long  ago  have  been  stripped  of  her  glories; 
instead  of  which  she  is  to-day  a seemingly  inexhaustible  mine,  growing  richer 
rather  than  poorer  to  the  intelligent  searcher  after  art-treasures. 

Daniell  & Son,  of  London,  make  one  of  the  finest  ceramic  displays  in 
the  English  section  and,  indeed,  in  the  Exhibition.  Their  cases  contain  examples 
of  the  choicest  wares  produced  in  the  famous  Staffordshire  potteries.  We  select 


Pnrrelnin  Vases  : Daniell  and  Son. 


for  illustration  two  pieces — a pair  of  vases — which  are  among  the  chefs  d'oeuvre 
or  their  collection.  Our  engraving  shows  their  beauty  of  form  and  the  exquisite 
designs  which  enrich  them.  But  the  composition  of  the  ware,  and  the  method 
by  which  they  are  decorated,  give  them  a peculiar  and  great  value.  The 
vases  are  porcelain  of  a deep  chocolate  color,  of  superior  evenness  and  depth 
of  tone.  On  this  body,  after  the  first  firing,  the  design  has  been  painted  by 
a process  known  as  pdte-sur-pdte,  or  paste  on  paste.  Exactly  how  this  was 
done  was  for  a .long  time  kept  a secret  at  Sevres,  where  it  was  first  invented 


50 


THE  INTERNATIONAL  EXHIBITION,  1876. 


in  1847,  by  Ebelman.  During  the  Paris  Exposition  of  1867,  some  English 
workmen — potters  from  Staffordshire — sent  over  to  report  on  the  display  to 
their  fellow-craftsmen  at  home,  saw  this  ware,  then  first  exhibited  as  a novelty, 
and  discovered  by  inspection  the  secret  process  pursued  in  its  production.  At 
the  beginning  of  the  Franco-Prussian  war,  among  other  Frenchmen  coming  to 
London  was  M.  Solon,  of  Sevres,  who  of  course  knew  the  secret.  His  services 
were  at  once  secured  by  the  Messrs.  Minton,  of  England,  and  the  successful 
production  of  the  new  ware  was  begun  by  them.  As  the  name  implies,  the 
painting  is  produced  by  painting  with  a paste  upon  the  body  of  the  ware. 
This  paste,  when  liquid,  is  a white  opaque  substance;  but  when  hardened  by 
firing,  it  takes  a most  exquisite  translucency.  It  is  this  latter  property  that 
makes  the  finished  result  so  beautiful.  The  body-color  of  the  object  painted  is 
seen  in  different  tints,  varying  in  depth  according  to  the  thickness  of  the  super- 
imposed paste.  The  result  is  an  appearance  of  high  relief  to  what  is  actually 
basso-relievo.  Naturally  the  artist  must  calculate  these  effects  with  the  greatest 
nicety,  and  constantly  look  ahead,  so  to  speak,  to  the  transformation  which  the 
fire  will  produce  on  his  drawing.  A careful  examination  of  our  engravings  will 
show  what  minute  and  delicate  work  is  possible  by  this  method.  Each  link  in 
Cupid’s  chain,  every  leaf  and  flower,  even  the  finer  folds  of  the  drapery,  are 
expressed  with  exactness.  This  pdte-sur-pdte  work  has  sometimes  been  com- 
pared with  the  famous  Jasper  ware  of  the  Wedgewoods.  In  certain  ways  they 
are  properly  comparable.  But  while  Wedgewood’s  productions  have  a certain 
well-defined  sharpness  of  outline — resembling  the  cameos  and  intaglios  which 
he  took  as  his  models — not  to  be  seen  in  pdte-sur-pdte,  the  latter  is  incompa- 
rably richer  and  softer  in  its  effect,  blending  its  tints  and  tones  with  a subtlety 
and  delicacy  quite  unapproachable  by  any  other  method. 

It  would  be  an  interesting  and  instructive  study  to  trace  the  influence  of 
Orientalism  upon  European  arts  and  customs  from  its  earliest  manifestations  to 
the  present  time.  We  all  know  how  much  ceramic  art  is  indebted  to  Persia 
and  neighboring  countries;  and  the  invasion  of  the  Saracens  into  Europe 
brought  with  it  additional  knowledge  of  the  wonderful  peoples  who  lived  far 
to  the  southward  of  the  Mediterranean  and  Caspian  seas.  Then  came  the 
invasion  of  the  Moors,  and  the  proud  crescent  threatening  to  dominate  all  Chris- 
tendom. And  then  the  tide  turned.  Slowly  but  surely  the  progress  of  civil- 


IND  US  TR  I A L ART. 


51 


ization — as  we  call  it — made  itself  felt  in  these  heathen  countries,  so  rich  in 
treasure  and  wonderful  productions  of  the  chisel  and  the  loom.  }{ach  succeeding 
traveller  brought  back  marvelous  accounts  of  the  wealth  of  the  new  country, 
its  strange  customs  and  beautiful  wares.  These  wares,  too,  began  to  be  gener- 
ally known.  At  first,  thought  fit  presents  for  the  acceptance  of  kings  and 
emperors,  the  enterprise  of  merchants  brought  them  within  the  reach  of  the 
richer  classes,  and  at  length,  as  commercial  facilities  increased,  so  great  was 
the  importation  that  even  the  masses  could  buy. 


Carpets  : I'/ie  Bigeto-w  Carpet  Co. 


At  the  present  day  the  desire  for  oriental  shapes  and  patterns  in  furniture, 
household  ware,  room  decorations,  and  textile  fabrics  has  become  so  great  that 
manufacturers  in  this  country  and  Europe  have  turned  their  attention  largely 
to  productions  of  this  kind.  Let  us  pause  for  a moment  and  inquire  why  this 
demand  is  so  universal.  If  we  can  find  the  answer,  we  discover  a law  of 
great  practical  value  to  the  artisan.  Some  will  say  fashion  has  much  to  do 
with  it,  and  others  that  the  novelty  of  the  designs  is  a chief  cause.  Doubtless 
there  is  much  truth  in  the  latter  assertion;  but  mere  novelty  is  not  everything; 
back  of  that  is  a true  art-feeling.  Everything,  even  the  most  insignificant  article 


52 


THE  INTERNATIONAL  EXHIBITION,  1876. 


in  daily  use,  bears  the  impress  of  artistic  feeling.  In  their  rugs,  while  no  two 
ever  are  alike,  the  designs  are  of  the  very  highest  order.  The  material  may 


The  Century  Vase  : Gorham  Manufacturing  Co. 

not  be  as  good  as  in  other  countries,  and  certainly  the  manner  of  hand- 
weaving cannot  compare  in  evenness  or  finish  or  durability  with  our  machine- 
made  fabrics ; but  the  blending  of  color,  the  spirit  of  the  design,  is  far  ahead 
of  anything  that  can  be  produced  by  the  average  artisan  of  this  or  any  other 
civilized  country. 


INDUSTRIAL  ART. 


53 


Therefore  when  our  skilled  workmen,  wkh  their  superior  facilities  for  the 
manufacture  of  the  stuffs,  study  the  patterns  of  these  masters  of  color  and 
design,  and  imitate  them  intelligently,  we  have,  perhaps,  the  perfection  of  work- 
manship. On  page  51  for  example,  are  two  specimens  of  carpet  from  the  Bige- 


Details  of  the  Century  Vase. 


LOW  Carpet  Manufactory  of  Massachusetts.  They  are  of  the  quality  known  as 
Turkey  ply,  that  peculiar  finish  into  which  the  foot  sinks  as  into  moss,  and 
which  has  a warmth  and  comfortable  feeling  suggestive  of  rest  and  repose. 
The  patterns  of  the  body  of  these  carpets  are  unmistakably  oriental,  and  the 
border  follows  the  same  model.  One  difference — made,  doubtless,  as  an  economic 
measure  in  order  to  bring  these  goods  within  the  means  of  every  one — is,  that 


54 


THE  I N TERN  ATI  O NAL  EXHIBITION,  1876. 


having  chosen  one  figure  the  manufacturers  reproduce  it  over  the  entire  surface  of 
the  carpet.  This  would  never  be  the  case  in  a genuine  Turkey  rug.  There, 
every  one  of  the  little  scrolls  and  medallions  would  be  different,  though  har- 
monious as  a whole.  But  a genuine  Turkey  rug  can  only  be  bought  by  rich 
people,  and  had  the  Bigelow  Company  undertaken  to  reproduce  these  costly 
fabrics  with  exactness,  their  carpets  would  necessarily  have  been  nearly  as 
high-priced  as  the  originals;  whereas,  now  we  have,  in  such  patterns  as  those 
engraved,  the  essential  features  of  the  hand-made  rug,  offered  at  a very  mod- 
erate price. 

From  the  Gorham  Manufacturing  Company’s  exhibit  of  silver  and  silver- 
plated  ware,  we  engrave  for  our  readers  on  pages  52  and  53  their  chef  de  bataille, 
the  solid  silver  Century  Vase,  designed  and  manufactured  expressly  for  the 
Centennial  Exhibition.  Some  misapprehension  has  heretofore  existed  as  to  the 
character  of  the  ware  manufactured  by  this  Company,  an  impression  prevailing 
that  when  in  1 865  they  began  manufacturing  plated  goods,  they  ceased  making 
the  solid  silver-ware  that  for  upwards  of  thirty  years  had  been  their  specialty. 
This  is  not  the  case,  and  no  better  evidence  is  needed  of  the  perfection  to 
which  they  have  brought  this  latter  branch  of  their  business  than  the  example 
before  us.  It  is  a truly  beautiful  and  perfect  work  of  art,  doing  credit  to  the 
artists  and  workmen  who  produced  it,  and  through  them  to  the  nation 
which  they  represent. 

If  the  design  is  carefully  studied  it  will  tell  its  own  story — the  story  of 
the  rise  and  progress  of  our  republic  upon  a soil  rich  in  natural  resources, 
triumphing  over  barbarism  and  civilized  enemies  from  without,  strong  in  its  own 
integrity  and  uprightness,  until  on  its  hundredth  birthday,  commanding  the 
respect  and  admiration  of  the  world,  It  bids  all  nations  come  and  see  for  them- 
selves its  progress,  offering  a hearty  welcome  to  all  alike.  That  the  reader 
may  the  more  thoroughly  understand  the  motif  of  this  fine  work,  we  shall  give 
a detailed  description  of  its  parts. 

The  piece  is  five  feet  four  inches  long,  and  four  feet  two  inches  high. 
With  the  exception  of  the  slab  of  polished  granite  on  which  the  plinth  rests, 
every  part  is  sterling  silver.  The  designs  are  by  George  Wilkinson  and 
Thomas  J.  Fairpoint.  Beginning  with  the  base  from  which  the  whole  fabric  of 
the  republic  was  reared,  we  have  the  native  red  man  and  the  pioneer  of  civil- 


IN  D US  TRIAL  ART. 


Cabinet— Ebony,  Ivory  and  Mother-of- Pearl : G.  Parvis. 

.-nation  representing  the  first  phase  of  our  existence.  Native  fruit,  flowers  a, 
cereals,  happ.ly  comb.ned  in  groups,  typifying  the  fruitfulness  of  the  soil,  orn. 


56 


THE  INTERNATIONAL  EXHIB  TTION,  1876. 


ment  the  ends.  One  of  these  groups  is  shown  on  an  enlarged  scale  in  another 
engraving  on  page  53.  A foliated  scroll-work  of  graceful  design  connects  the 
several  groups.  Above  and  encircling  the  solid  granite  slab  are  the  thirty- 
eight  stars  of  the  republic,  bound  together  and  resting  upon  as  sure  a founda- 
tion as  the  rock  itself  On  either  side  of  the  plinth  are  groups — one,  the 
Genius  of  War,  holding  her  dogs  in  the  leash,  her  whole  attitude  expressive 
of  her  fierce  purpose  and  her  surroundings — the  shattered  tree  and  the  broken 
cannon-wheel — indicative  of  the  desolation  of  her  course.  On  the  other  side 
we  have  the  contrast — the  lion  led  by  little  children,  and  emblems  suggestive 
of  peace  and  security  scattered  around.  Between  these  two  extremes  our 
republic  steadily  rises  upwards,  directed  and  led  in  those  stormy  days  of  trial 
by  the  strong  hand  and  inflexible  will  of  Washington.  It  is  fitting,  then,  that 
the  Angel  of  Fame,  while  holding  in  one  hand  the  palm  branch  and  laurel, 
should  with  the  other  hand  place  a wreath  of  immortelles  upon  the  brow  of 
him  who  was  indeed  the  Father  of  his  Country.  On  the  opposite  side  is 
another  medallion,  the  genius  of  Philosophy  and  Diplomacy,  with  one  hand 
resting  on  the  printing-press,  and  the  other  holding  the  portrait  of  Franklin — 
the  one  man  of  this  country  who  was  truly  a philosopher  and  a diplomatist  of 
the  highest  order.  And  as  from  the  plinth  the  perfect  vase  rises,  so  from  those 
colonial  times  sprung  at  a bound  the  young  republic.  On  the  front  panel  of 
the  vase  we  see  the  Genius  of  the  Arts,  ready  to  inscribe  on  his  tablet  the 
names  of  those  famous  in  Literature,  Science,  Music,  Painting,  Sculpture,  and 
Architecture.  In  the  reverse  panel  the  Genius  stands  ready  to  record  our 
advancement  in  Commerce,  Mining  and  Manufactures.  Crowning  the  vase  we 
have  the  last  and  grandest  scene  in  our  hundred  years  of  existence.  Here  is 
America  holding  aloft  the  olive  branch  of  peace  and  the  wreath  of  honor,  sum- 
moning Europe,  Asia  and  Africa  to  join  with  her  in  the  friendly  rivalry  with 
which  she  enters  on  the  second  century  of  her  existence. 

The  reader  who  has  followed  us  through  this  description,  and  who  will  now 
turn  to  the  vase,  will  see  how  splendidly  this  noble  theme  has  been  treated. 
Aside  from  the  mere  mechanical  execution,  which  is  perfect  in  its  way,  the 
story  of  the  republic  has  been  told  by  fitting  emblems  brought  together  into 
one  harmonious  whole,  which  in  itself — more,  perhaps,  than  any  other  feature 
of  the  design — typifies  the  cause  of  our  great  prosperity. 


INDUSTRIAL  ART. 


57 


There  is  but  one  adjective  which  can  be  applied  to  the  subject  of  our 
next  engraving — the  Cabinet  from  M,  Parvis,  Cairo,  Eoybt — and  that  is,  mag- 
nificent. Let  the  reader  imagine  a ground  of  the  finest  ebony,  polished  till 
it  resembles  jet,  in  which  are  inlaid  masses  of  ivory  and  rare  pieces  of  mother- 
of-pearl,  carved  with  all  the  patient  labor  and  minuteness  for  which  the  East 
is  famous,  the  whole  following  a design  of  extraordinary  intricacy  and  elabo- 
rateness. The  most  remarkable  feature  of  this  work  is  its  finish.  Not  a 
joint  is  anywhere  visible;  the  bits  of  ivory  or  mother-of-pearl  are  so  nicely 
fitted  together  that  they  seem  like  solid  pieces  of  a marvelous  bigness.  The 
longer  one  looks  at  the  design,  the  more  intricate  it  seems  to  become.  The 
heads  surrounding  the  grotesque  mask  in  the  central  panel  come  out  with 
greater  distinctness,  and  new  forms  reveal  themselves  in  the  frieze  and  orna- 
mentation to  the  panels  on  either  side.  Surely,  when  the  artisans  of  Egypt  can 
produce  such  work  as  this,  it  is  too  soon  to  say  that  the  glory  of  the  East  has 
departed. 

From  the  exhibit  of  Starr  & Marcus,  of  New  York,  jewelers  and  gold- 
smiths, we  have  selected,  as  a subject  for  engraving,  the  Diamond  Necklace 
and  Pendant  which  occupy  the  place  of  honor  in  their  principal  case.  Our 
illustration  conveys,  as  well  as  it  is  possible  for  the  graver’s  art  to  do  it,  an 
idea  of  the  brilliancy  of  these  superb  articles;  but  whoever  is  privileged  to  see 
the  originals  will  realize  how  impossible  it  is  to  give  in  black  and  white  much 
more  idea  of  the  gems  themselves  than  their  size  and  shape.  Their  commercial 
value  we  believe  is  very  great ; but  their  value  to  connoisseurs  who  recognize 
the  purity  of  the  stones,  the  evenness  of  their  cutting,  and  the  exactness  of 
size,  shape  and  brilliancy  in  the  pairs,  hardly  any  estimate  can  be  placed  upon 
their  worth. 

We  wonder  how  many  of  our  readers  know  what  a natural  diamond  really 
looks  like.  All  are  of  course  familiar  with  the  gem  as  it  is  offered  for  sale  in 
the  dealer’s  window,  but  few  would  recognize  in  the  insignificant  lump,  looking 
more  like  a morsel  of  clay  than  anything  else,  the  origin  of  the  sparkling  bril- 
liant which  is  the  first  and  most  precious  of  all  the  products  of  the  globe. 

We  need  not  enter  into  the  discussion  of  what  the  diamond  really  is. 
Whether  it  is  vegetable  or  mineral,  whether  it  is  pure  carbon  or  a vegetable 
substance  slowly  pressed  into  a crystalline  form,  is  yet  to  be  determined  by 


58 


THE  INTERNATIONAL  EXHIBITION,  1876. 


science.  But  some  notion  of  the  manner  in  which  the  natural  stone  is  after- 
wards treated  may  be  of  interest.  The  workmen  of  Amsterdam,  as  everybody 
knows,  have  almost  a monopoly  of  the  trade  of  diamond-cutting.  Standing 
before  a swiftly-revolving  steel  disc,  called  a “skaif,”  lubricated  with  oil,  the 
diamond-cutter  presses  the  diamond,  soldered  into  a brass  holder,  against  the 
steel,  and  grinds  down  one  of  the  faces  or  facets.  The  shape  into  which  the 


Diamond  Aecktace  and  Pendant  ■ Starr  Marcus. 


diamond  is  to  be  cut  has  been  determined  beforehand,  but  it  is  often  necessary 
to  change  the  original  design  as  the  work  progresses,  owing  to  flaws  or  imper- 
fections in  the  stone.  After  one  face  is  ground,  the  stone  is  taken  from  the 
solder,  cemented  so  as  to  present  another  surface,  and  so  the  work  progresses. 
It  is  easy  to  conceive  how  delicate  must  be  the  manipulation  to  produce  the 
exact  angles  for  the  highest  refraction  of  light  in  a stone  which  is  cut  into,  say, 
fifty  eight  facets.  A slight  slip  may  damage  a gem  to  the  extent  of  hundreds 
of  dollars.  It  is  not  generally  known,  yet  it  is  well  for  those  who  possess 


INDUSTRIAL  ART. 


59 


diamonds  to  know,  that  it  is  a. dangerous  experiment  to  emulate  the  example 
of  Francis  the  First  of  France,  and  attempt  to  scratch  with  them  upon  glass. 
The  glazier’s  diamond  always  presents  a natural  angle  as  the  cutting  edge; 
but  as  the  gem  has  artificial  angles,  it  may  be  that  one  of  these  may  be  used 
by  the  amateur,  and  owing  to  the  peculiar  crystalline  structure  of  the  diamond 
he  will  be  dismayed  to  find  that  he  has  split  off  a portion  of  the  stone,  and 
ruined  its  beauty  and  symmetry  for  ever. 

Some  pages  back  we  referred  to  our  indebtedness  to  the  Orient  for  many 
forms  and  objects  of  beauty,  but  we  think  that  it  will  surprise  most  of  our 
readers  to  know  that  that  thoroughly  English  composition  which  is  called  Punch 
originates  and  derives  its  name  from  India  or  Persia.  Pounch  in  Hindostanee, 
punji  in  Persian,  and  pancho  in  Sanscrit,  each  mean  five,  and  five  ingredients 
enter  into  the  composition  of  this  delectable  compound  when  it  is  properly 
prepared.  The  fifth  ingredient  in  India  is  jelly,  which  is  their  substitute  for 
sugar,  otherwise  an  old-fashioned  English  punch  and  an  Hindostan  pounch  are 
equally  insinuating  and  pleasant  to  the  taste.  And  supposing  the  punch 
properly  mixed,  what  could  serve  it  up  more  royally  than  the  Punch-bowl 
and  Goblets  of  the  Meriden  Britannia  Company,  which  we  illustrate  in  our 
engraving.  The  design  is  figurative  of  the  use  to  which  it  is  to  be  put.  The 
vine-leaves  and  grapes;  the  Bacchic  masks,  the  Goddess  of  Mirth,  the  generous 
size  of  the  bowl  and  the  number  of  goblets — all  are  suggestive  of  the  festive 
board,  the  jolly  Christmas  time  when  young  and  old  make  merry,  toasting  the 
absent,  drinking  to  the  health  of  those  present,  passing  the  evening  in  harmless 
revelry  and  song. 

One  of  the  most  interestingf  and  instructive  features  of  the  Exhibition  is 
the  evidence  it  affords  of  how  our  young  republic,  in  its  one  hundred  years 
of  existence,  has  thrown  off  the  simplicity  of  living  necessary  in  its  early  days 
when  existence  was  a long  struggle  with  poverty,  and  with  increasing  wealth 
and  prosperity  is  gathering  to  itself  the  most  costly  and  elegant  appliances  for 
making  life  not  only  comfortable  but  luxurious,  which  money  can  buy.  In  every 
quarter  of  the  world  the  invention  of  the  artist  and  sculptor  and  artisan  is 
taxed  to  supply  the  demand  which  wealth  and  culture  make  upon  every  branch 
of  manufacture  to  give  us  of  the  best  that  can  be  produced.  And  our  own 
workmen,  though  lacking  the  facilities  for  study  and  self-education  to  be  had 


6o 


THE  INTERNATIONAL  EXHIBITION,  1876. 


on  the  Continent,  are  so  constantly  receiving  into  their  ranks  foreign  artisans 


Punch-bowl  ana  Goblets : Meriden  Britannia  Company. 


of  the  best  class,  that  their  joint  work,  which  may  fairly  be  called  productions 
of  American  industry,  compare  favorably  with  European  examples. 

In  nothing  is  this  desire  for  sumptuous  articles  of  use  more  apparent  than 


INDUSTRI AL  ART. 


€>i 


Chimney-piece : M.  Marchand,  Paris. 


in  the  decorations  and  fittings  for  houses,  especially  for  furniture  and  fixtures. 


62 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Take  for  an  example  the  elaborate  Chimney-piece  exhibited  by  M.  Marchand,  of 
Paris.  Only  a wealth  and  a desire  for  its  expression  in  some  permanent  form, 
such  as  gave  encouragement  to  artists  in  the  most  prosperous  days  of  Europe, 
could  inspire  such  a design  as  this.  Probably  fifty  years  ago  there  was  not  a 
mansion  in  the  country  where  such  a magnificent  combination  of  carving  and 
highly  ornate  decoration,  finding  expression  in  statuary  and  gilding  and  poly- 
chrome enamels,  could  have  been  appropriately  placed.  To-day  there  is  not  a 
principal  city  in  the  land  that  has  not  its  houses  where  this  or  equally  splendid 
work  could  not  be  properly  placed;  and  if  we  imagine  a room,  proportioned 
to  suit  this  piece,  decorated  in  a like  style  of  richness,  and  filled  with  furniture 
to  correspond  with  it,  we  have  an  apartment  that  is  nothing  less  than  palatial. 
M.  PiAT,  the  designer  of  this  mantelpiece,  received  the  decoration  of  the  Legion 
of  Honor  as  a reward  for  his  design.  Its  prevailing  style  is  pure  Greek. 
The  material  is  the  best  black  marble,  relieved  by  gilding  and  polychrome 
enameling.  On  each  side  of  the  fireplace  stand  Poetry  and  Music.  The  head 
of  Medusa  is  seen  at  the  back,  in  the  panel  surrounded  by  a border  in  a fine 
Greek  pattern.  Above,  on  the  pedestal,  is  a noble  figure  of  Minerva,  finely 
gilt  and  enameled.  'Phe  panel  back  of  the  figure  is  relieved  by  a graceful 
design  of  vine-sprays  after  an  Etruscan  pattern. 

It  is  quite  fitting  and  natural  that  at  the  present  time,  when  we  are  cele- 
brating our  Centennial,  that  our  manufacturers,  in  producing  simply  ornamental 
figures,  should  desire  to  typify,  by  every  means  in  their  power,  the  eventful 
hundred  years  of  the  nation’s  history.  The  theme  is  a grand  one,  capable  of 
beinof  treated  in  a thousand  different  wavs  and  viewed  from  a thousand  different 
standpoints;  and  therefore  the  number  of  groups  which  are  to  be  seen  in  the 
Exposition  illustrative  of  this  subject  is,  perhaps,  larger  than  of  any  other 
subject.  Among  these  manufacturers  are  Reed  & Barton,  of  Taunton,  Mass., 
who  send  a large  group,  symbolic  of  Progress,  which  was  designed  by  W.  C. 
Beattie.  Its  length  is  five  feet,  and  its  height  four  and  a half  feet.  1 he 
progress  of  America  from  savage  to  civilized  life  is  represented  by  a contrast 
between  its  condition  in  the  fifteenth  and  the  nineteenth  centuries.  On  the  left 
hand  we  have  a group  representing  the  primitive  state  of  the  country:  the 
party  of  savage  Aztecs  thinking  of  nothing  but  war — even  the  mother  teaching 
her  tender  offspring  the  use  of  the  bow;  the  barren  rocks  and  scattered 


INDUSTRIAL  ART. 


63 


bones  indicating  the  lack  of  all  notion  of  profiting  by  the  fruitfulness  of  the 


EM 


Progress:  Reed  Barton,  Taunton,  Mass. 


soil,  while  the  angry  serpent  may  be  looked  upon  as  typifying  the  fight  with 
untamed  nature. 


64 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Four  centuries  pass,  and  behold  the  contrast!  The  Genius  of  Columbia, 
bearing  the  olive-branch  of  peace  in  one  hand,  and  the  fasces  of  just  govern- 
ment in  the  other,  passes  before  us.  Mercury,  the  swift-footed  god  of  com- 
merce and  oratory,  leads  her  steed  by  a flowery  bridle,  and  thus  symbolizes  the 
guiding  influences  of  his  arts  which  have  led  us  to  prosperity.  Beside  Columbia 
walks  Plenty,  with  her  overflowing  cornucopia ; while  beneath  their  feet  spring 
the  plants  and  fruits  which  indicate  the  prosperous  results  of  agriculture.  A 
student-group  in  advance,  surrounded  by  the  implements  of  science  and  studying 
problems  which  will  still  further  advance  our  interests,  indicates  that  the  future 
holds  in  store  for  us  other  knowledge,  and  that  to  the  progress  already  made 
more  is  to  be  added.  A bas-relief  upon  the  pedestal  represents  the  landing 
of  Columbus,  and  above  rises  the  vase  with  the  dove  and  olive-leaf,  typical  of 
the  peaceful  period  during  which  the  arts  have  flourished.  Surmounting  the 
whole  is  the  figure  of  Liberty,  standing  upon  a broken  chain,  bearing  in  one 
hand  the  palm  of  victory,  while  with  the  other  she  holds  the  scroll  on  which 
is  inscribed  the  record  of  our  progress.  She  is  the  inspiring  genius  to  whose 
benign  influence  we  owe  our  prosperity. 

Of  woman’s  work,  the  Exhibition  contains  many  examples — some  of  it, 
such  as  the  carving  in  wood,  of  a kind  heretofore  monopolized  by  men,  and 
others,  such  as  the  needle-work,  of  a character  truly  feminine.  In  this  latter 
class,  decidedly  the  most  interesting  display  in  the  Main  Building  is  the  contri- 
bution sent  from  London  by  the  Royal  School  of  Art  Needle-work. 

This  School,  recently  founded  by  the  Princess  of  Schleswig-Holstein  and 
other  noble  ladies,  under  the  patronage  of  the  Queen,  has  for  its  object  the 
revival  of  that  famous  embroidery  and  other  work  of  the  needle  for  which  the 
women  of  England  were  so  famous  three  centuries  ago.  It  will  be  remem- 
bered that  at  that  time  England  had  the  reputation  of  making  the  finest 
ecclesiastical  vestments  in  the  world.  But  with  the  decay  of  the  Church  came 
a corresponding  decadence  in  the  demand  for  embroidery,  and  consequently  the 
art  fell  into  disuse.  Chiefly  owing  to  the  encouragement  now  given  to  it  by 
the  Royal  School  is  this  beautiful  branch  of  woman’s  work  being  revived.  The 
School  employ  the  very  first  artists  and  designers  of  England  to  furnish  them 
with  designs,  and  in  the  display  sent  to  this  country  are  patterns  by  such  well- 
known  men  as  Morris  and  Crane  and  Pollen.  We  select  for  illustration  a 


INDUSTRIAL  ART. 


65 


superb  set  of  door-hancrino^s,  decorated  after  designs  furnished  by  the  last- 


Designs  for  Door-hangings  : Royal  School  of  Art  Needle-work. 


named  designer.  They  are  a valance  and  side-curtains  or  portieres.  The 
material  is  a heavy  red  Utrecht  velvet,  on  which  the  design  of  pines  and 


66 


THE  INTERNATIONAL  EXHIBITION,  1876. 


flowers  is  worked  in  embossed  gold;  the  scroll-work  and  foliated  patterns  being 
done  in  applique  with  different-colored  velvets.  The  effect  of  the  whole  is 
gorgeous  in  the  extreme,  making  this  set,  perhaps,  the  most  striking  in  the 
collection. 

People  who  think  of  glass  merely  as  a brittle,  transparent  substance  should 
visit  the  Austrian  exhibit,  and  especially  the  display  of  Lobmeyr,  of  Bohemia, 
to  be  made  aware  of  its  malleability,  its  varied  uses,  and  a material  capable 
of  being  turned  into  the  most  beautiful  forms.  It  is  said  that  even  at  Vienna 
the  display  of  crystal  was  not  so  fine  as  that  made  here.  In  Lobmeyr’s  col- 
lection are  superb  pieces  of  engraved  crystal,  various  kinds  of  Bohemian  ware 
and  bone-glass.  In  the  latter  the  color  is  something  truly  astonishing.  There 
are  vases  of  royal  blue  with  fine  gilt  decoration,  shaped  after  the  most  exquisite 
Etruscan  models.  Here  are  toilet-bottles  of  the  old  pilgrim  shape,  and  opaline 
ware  in  the  style  of  the  ancient  Venetian  glass.  Some  specimens  are  orna- 
mented with  flowers  in  the-  Persian  manner;  others  are  of  the  Renaissance 
period,  and  others  again  have  the  enameled  green  scales  of  Venice.  Some  of 
the  most  noticeable  specimens  are  crystal  vessels  covered  with  a layer  of  trans- 
parent red  glass,  which  has  been  cut  back  through  to  the  crystal  in  wonderful 
and  intricate  patterns.  We  engrave  a group  of  several  of  the  most  beautiful 
of  these  charming  objects,  each  one  of  which  is  a marvel  of  the  glass- 
worker’s  art 

The  Italian  Court  of  the  Exhibition  contains  many  choice  and  beautiful 
things  from  that  wonderful  land  whose  soil  has  for  centuries  been  a mine  from 
which  the  nations  of  the  world  have  drawn  the  richest  treasures  of  antiquity 
that  adorn  their  museums;  and  yet,  great  as  has  been  the  drain  upon  her,  it 
is  probable  that  to-day  Italy  contains,  deep  buried  amid  the  ruins  and  the 
debris  of  her  former  greatness,  more  riches  a thousand-fold  than  all  that  have 
been  taken  from  her  to  the  present  time.  But  it  is  not  alone  with  the  remains 
of  her  past  splendor  that  Italy  is  supplying  the  demand  for  those  things  of 
beauty  which  carry  refinement  and  culture  into  every  corner  of  Christendom. 
While  one  portion  of  her  people  are  busily  engaged  searching  for  objects  of 
ancient  art,  another  portion  are  equally  busy  in  reproducing  with  infinite  skill 
and  patience  the  famous  works  of  the  old  masters  in  every  branch  of  art,  and 
still  a third  class  are  hard  at  work  trying  to  supply  the  demand  for  antiquities 


INDUSTRIAL  ART. 


67 


by  manufacturing  whatever  the  dealers  may  desire.  Yet  it  is  a noteworthy 
feature  in  the  modern  work  of  the  Italian  workmen  that  they  invariably  select 


Group  of  Glass-ware  : Herr  Lobmeyr,  I 'ienna. 


the  very  best  models  to  copy.  They  do  not  even  restrict  themselves  to  their 
own  masters,  fruitful  as  they  were  in  good  work,  but  they  avail  themselves  of 
the  art-work  of  other  lands  and  nations.  In  a walk  through  those  portions  of 


68 


THE  INTERNATIONAL  EXHIBITION,  1876. 


the  Court  devoted  to  terra-cottas  and  marbles  and  bronzes,  French,  German 
and  Egyptian  works  are  to  be  seen  together  with  examples  of  ancient  and 
modern  Italian  art. 

We  select  for  illustration  a bronze  replica  of  the  famous  Mercury  of  Jean 
Boulogne,  of  Drum.  This  work,  the  crowning  effort  of  the  great  sculptor’s 
life,  is  familiar  to  every  one  by  its  numerous  reproductions  in  stone  and  metal 
as  well  as  by  photographs  and  engravings.  It  is  a favorite  ornament  for  lawns, 
for  pinnacles  of  buildings,  for  the  tops  of  columns,  and  in  smaller  form  as  a 
statuette  it  adorns  cabinets,  mantels  and  niches  in  the  walls  of  rooms.  Again, 
it  is  seen  in  the  ornamentation  of  clocks,  vases  and  objects  of  that  sort,  on 
epergnes  and  other  table  ornaments,  and  finally  we  have  it  reproduced  by  the 
goldsmiths  on  articles  of  personal  adornment.  Indeed,  we  remember  no  statue 
that  has  been  so  universally  copied  for  various  uses  as  this  Mercury  of  Jean 
Boulogne. 

The  Swedish  exhibit  of  pottery  and  porcelain  is  certainly  one  of  the  finest 
in  the  Exhibition,  both  for  quality  of  the  material  and  for  its  artistic  use.  The 
Rorstrand  Limited  Co.  are  the  principal  exhibitors,  and  from  their  famous 
factory,  excepting  only  the  Royal  Works  of  Berlin,  comes  the  best  assortment 
of  porcelain,  majolica  and  parian  shown  in  the  Main  Building.  In  porcelain  the 
Rorstrand  Co.  exhibit  one  piece  that  alone  would  have  attracted  the  attention 
of  visitors  to  the  Swedish  Court.  It  is  certainly  one  of  the  chefs-d'oeuvre  of 
the  Fair,  and  as  an  example  of  what  can  be  done  with  porcelain  it  is  almost 
unique.  It  is  a Chimney-piece,  standing  about  twelve  feet  high,  constructed 
entirely  of  hard  and  soft  porcelain.  Its  general  color  is  lavender  and  celadon, 
picked  out  with  gold,  but  there  are  other  colors  blending  with  these  and 
making  an  harmonious  whole  of  great  delicacy  and  richness.  The  fire-place  is 
surrounded  with  a beautiful  border  of  flowers  and  leaves  in  white  porcelain 
picked  out  with  gold.  The  columns  on  either  side  are  divided  into  plain  panels 
of  lavender  and  gold,  separated  by  richly-ornamented  medallions.  Above  the 
columns  is  a frieze  with  scroll-work  of  singularly  beautiful  design  in  celadon, 
lavender  and  fine  tracery  in  gold,  while  above  that  again  is  the  white  porcelain 
shelf,  resembling  in  its  purity  and  polish  the  richest  marble.  Above  this,  in 
the  centre  of  a long  horizontal  panel  ornamented  with  an  elegant  scroll  pattern 
in  relief,  is  a charmingly  modeled  figure  of  Cupid,  in  the  round,  which  is  one 


INDUSTRIAL  ART. 


69 


of  the  most  beautifully  executed  porcelains  we  have 

Cupid,  in  a niche 

prepared  for  it,  is 

an  Etruscan  vase, 

standing  some 

between  the  niche 
and  columns  is 
filled  with  scroll- 
work, highly  elabo- 
rated, yet  of  the 
most  chaste  de- 
sign. The  upper 

preciate,  but  for  its  purity  and  harmony  of  design, 
admire. 


Mercury,  bronze  : Italian  Court. 


ever  seen.  Just  over  the 
part  of  this  superb 
work  is  in  harmony 
with  the  richness 
of  its  lower  por- 
tion. While  the 
ornamentation  is 
equally  elaborate, 
it  is  lighter  in  color 
and  treatment,  and 
gives  an  effect  of 
finish  which  is  alto- 
gether satisfactory. 
Whether  in  this 
piece  we  consider 
the  adaptability  of 
the  material  to  the 
use  proposed,  or 
the  character  of  the 
ornamentation  al- 
lowable in  an  ob- 
ject of  this  kind, 
or  simply  the  effect 
of  the  whole  as  we 
see  it,  there  can  be 
but  one  opinion  of 
its  merit,  and  we 
cordially  recom- 
mend it  to  all,  not 
only  for  its  me- 
chanical execution, 
which  few  will  ap- 
which  all  can  study  and 


70 


THE  INTERN  ATIO  NAL  EXHIBITION,  1876. 


The  famous  Rorstrand  Works  were  established  in  1726 — just  a century 
and  a half  ago — at  Rorstrand.  The  greater  part  of  the  porcelain  manufactured 
always  has  sold  in  Sweden,  but  of  late  years  an  export  trade  has  grown  up 
with  France  and  England,  as  well  as  with  the  adjacent  continental  nations,  and 
promises  to  be  of  importance  in  the  future.  As  but  the  materials  for  porcelain 
abound  in  Sweden,  the  manufacture,  as  compared  with  that  of  other  countries, 
becomes  simply  a matter  of  competition  in  skillful  manipulation  and  artistic 
treatment.  In  the  former  of  these  the  Swedish  workmen  already  excel,  and 
they  certainly  are  not  far  behind  either  France  or  Germany  in  color  or  design. 
The  display  of  majolica  at  this  Exhibition  made  by  Sweden  is  in  many  ways 
the  best  of  all.  Beside  porcelain  and  majolica,  the  Rorstrand  Works  make 
parian  and  bisquit  ware  and  various  grades  of  commercial  China.  At  the 
present  time  their  business  gives  employment  to  between  five  and  six  hundred 
persons;  the  production  of  the  works  having  a value  of  about  ^900,000  annually. 

From  Sweden — which,  everything  considered,  makes  the  best  display  of 
ceramics  in  the  Exhibition — comes  the  spirited  group  which  forms  the  subject 
of  our  engraving  shown  on  page  72.  It  is  a replica  in  terra-cotta  by  S.  H. 
Godenius,  of  Stockholm,  of  the  spirited  group.  The  Grapplers,  by  J.  P.  Molin. 
The  engraving  gives  a capital  idea  of  this  fine  work.  The  moment  chosen 
by  the  sculptor  is  a critical  one  in  the  contest,  and  moreover — this  is  a 
point  which  we  have  referred  to  before,  but  we  wish  to  emphasize  it — a 
moment  strictly  correct  in  an  artistic  sense.  The  combatants  at  this  instant 
are  motionless,  and  this,  we  contend,  is  the  only  proper  theme  for  sculpture. 
Action  past  and  future  may  be  indicated,  but  present,  actual  motion  belongs 
only  to  the  domain  of  the  painter.  As  we  have  said,  at  this  moment  the 
grapplers  are  at  rest.  An  instant  more,  and  the  one  who  has  seized  the 
upraised  wrist  of  the  other,  preventing  the  intended  blow,  will  have  turned 
the  odds  against  his  adversary,  and  have  clinched  for  a fall.  We  are  glad  to 
see  the  reproduction  of  works  of  this  class  in  terra-cotta.  The  material  is  a 
noble  one,  capable  of  an  infinite  variety  of  uses  in  the  arts  and  manufactures 
and,  with  care,  can  be  made  a valuable  accessory  to  sculpture.  Next  to  Italy, 
Sweden’s  terra-cotta  is  the  most  satisfactory  In  the  Exhibition. 

There  is  a growing  tendency  in  this  country  to  make  certain  homely  articles 
of  furniture  appear,  when  not  in  actual  service,  to  be  something  other  than  they 


INDUSTRIAL  ART. 


I 


71 


Chimney-piece : Rorstrand  Co.  Limited,  Sweden. 


72 


THE  INTERNATIONAL  EXHIBITION,  1876. 


really  are.  Theoretically,  this  tendency  is  a bad  one,  because  it  partakes  more 
or  less  of  sham,  which,  if  we  may  be  permitted  to  use  the  figure  of  speech, 
is  a partially-explored  country  of  vast  extent,  though  without  determinate  limits, 
whose  Inhabitants  and  all  their  belongings  are  regarded  with  suspicion  and 
contempt  by  the  honest  people  who  have  seen  how  unsatisfactory  and  unreal 
everything  belonging  to  them  proves  to  be.  But  in  the  modern  manner  of 
living,  there  are  certain  conditions  of  existence  which  justify  a certain  amount 
of  deception,  and  indeed  render  it  altogether  praiseworthy.  Here,  for  example, 
is  a young  couple 


of'  moderate 
means,  who  can- 
not afford  to  keep 
house  or  to  rent 
a suit  of  rooms 
in  the  neighbor- 
hood where  it  is 
desirable  for  them 
to  live.  If,  how- 
ever, they  could 
manage  to  live  in 
a single  apart- 
ment, they  could 
readily  afford  to 
remain  near  their 
friends.  The  cabi- 
net-maker of  to- 


The  Grapplers,  terra-cotta  : S.  H.  Godenius,  Stockholm. 


day  steps  in  and 
tells  them  that 
nothing  is  easier. 
He  will  supply 
them  with  furni- 
ture that  shall 
make  of  the  one 
apartment  a bed- 
room which  can 
be  turned  into  a 
parlor  at  a mo- 
ment’s notice.  He 
provides  them 
with  a bedstead 
which  by  some  in- 
genious mechan- 
ism transforms 
itself  into  a sofa. 


a wash-stand  that  becomes  a writing-desk,  a wardrobe  that  has  the  appearance 
of  a secretary,  and  the  thing  is  done.  Now,  all  this  is  a very  proper  and 
justifiable  proceeding.  Our  young  couple  do  not  want  to  receive  friends  in  a 
room  which  suggests  its  use  as  a bed-room,  and  they  cannot  sleep  on  parlor 
furniture ; but  in  this  way  their  difficulty  has  been  removed. 

If  we  follow  the  fortunes  of  this  Imaginary  pair,  and  look  in  upon  them 
again  when  their  economy  at  the  start  has  enabled  them  to  have  a house  of 
their  own,  luxuriously  furnished  with  all  the  appliances  of  wealth  and  culture. 


IN D US  TR I A L A R T. 


73 


we  find  a corresponding  desire  to  make  things  answer  for  several  useful  pur- 
poses, and  by  this  economy  of  room  gain  more  space  for  what  is  purely 
ornamental.  In  the  sleeping-room,  for  instance,  where  there  is  now  no  neces- 


Wardrobe : G.  Volhner* 


sity  for  concealing  the  bed,  we  find  such  a Wardrobe  as  this  of  Vollmers.  In 
itself  it  is  a superb  piece  of  furniture;  but  in  place  of  a paneled  door  we  have 
a broad  mirror,  which  thus  gives  just  that  much  wall-space  for  pictures  or  what 


74 


THE  INTERNATIONAL  EXHIBITION,  1876. 


ornaments  we  please.  Then,  on  either  side  of  the  mirror-door  are  spaces  nicely 
contrived  to  hold  the  numberless  little  articles — statuettes,  vases  and  pretty 
toilet  articles — that  women  love  to  have  about  them.  Beneath  the  broad  slab 
at  the  base  of  the  glass  is  a roomy  drawer,  and  on  each  side  of  it  cupboards, 
where  the  “mysteries”  of  the  toilet  or  the  jewel-box  may  be  kept  under  lock 
and  key.  So  that  in  short  we  have  an  article  of  furniture  combining  several 
uses,  all  grouped  together  into  a form  of  artistic  beauty.  The  elaboration  and 
finish  of  the  work  is  excellent.  The  light,  delicate  color  of  the  satin-wood 
ground  is  relieved  by  the  rich  mahogany  decorations.  The  elegantly-curved 
lines  of  the  design,  the  finely-wrought  scroll-work,  the  harmonious  combination 
of  effect  at  the  top,  all  help  to  make  this  wardrobe  a real  work  of  art,  an 
addition  to  its  primary  use  as  a piece  of  necessary  furniture. 

Our  next  illustration  is  an  admirably-designed  Stained  Glass  Window, 
manufactured  by  Cox  & Sons,  of  London,  the  well-known  ecclesiastical  deco- 
rators. The  window  is  divided  into  three  parts,  each  section  being  complete 
in  itself,  yet  forming  together  an  harmonious  whole.  The  subject  is  that  beautiful 
incident  in  the  life  of  Christ  when  he  gathered  the  multitude  about  him  on  the 
mountain  and  spake  to  them  those  words  of  mercy  and  tenderness  and  love — 
so  different  from  the  lessons  of  the  elders — which  have  come  down  to  us 
through  the  ages,  bearing  their  sweet  message  of  consolation  and  hope  to 
many  a weary  heart ; their  divine  wisdom  becoming  but  the  more  apparent  as 
we  recognize  what  those  few  simple  precepts,  uttered  eighteen  hundred  years 
ago,  have  done  toward  revolutionizing  the  nations  of  the  earth,  and  bringing 
civilization  out  of  barbarism.  It  is  very  right  and  proper  that  Christian  people 
should  be  constantly  reminded  of  this  sublime  occasion  ; and  no  means  are  so 
effective  and  real  than  to  aid  the  imagination  by  means  of  pictorial  represen- 
tations. Long  before  the  art  of  painting  and  staining  glass  with  figures  was 
invented,  frescoing  and  panel-painting  were  in  common  use.  Yet  it  was  a 
glorious  thought  which  first  conceived  the  idea  of  making  the  church-windows, 
through  which  the  light  of  day  diffused  itself  throughout  the  sanctuary,  a 
medium  by  which  the  splendor  and  glory  of  that  other  and  first  Light  should 
be  typified  in  the  mind  of  the  worshippers  with  colors  such  as  no  canvas  can 
produce.  Of  all  the  adornments  which  man,  in  his  desire  to  make  the  liouse 
of  God  beautiful,  has  brought  into  the  church,  the  stained  glass  window  is,  to 


INDUSTRIAL  ART. 


75 


Stained  Glass  Window:  Cox  Sons,  Lonaon. 


our  thinking,  the  most  appropriate  and  beautiful.  It  may  be  simply  contrasted 
masses  of  harmonious  color,  or  it  may  be  as  elaborate  a painting  as  the 


76 


THE  INTERN ATW N AL  EXHIBITION,  1876. 


subject  of  illustration;  and  in  this  respect  it  is  one  of  the  noblest  forms  in 
which  art  may  express  religion. 

We  engrave  on  page  77  some  of  the  Print  Patterns  used  by  the  American 
Print  Works,  Fall  River,  Mass.,  in  their  manufacture:  and  as  these  figures 
may  fairly  be  taken  to  represent  the  fashion  of  the  day,  it  is  curious  and 
interesting  to  note  how  much  we  have  improved  in  this  respect  within  the  past 
few  years.  Perhaps  it  would  be  more  correct,  in  speaking  of  fashion  in  dress, 
to  give  all  the  credit  of  this  change  to  the  sex  whose  reign  and  fiat  in  this 
respect  is  supreme ; and,  indeed,  we  are  quite  willing  to  give  woman  every- 
thing she  may  claim  in  this  respect.  While  it  is  highly  probable  that  men 

designed  the  patterns  before  us,  it  is  equally  certain  that  they  never  would 
have  become  popular  if  they  had  not  pleased  the  women’s  fancy.  It  is  not  so 
very  long  ago,  say  when  our  grandmothers  were  girls,  that  the  young  creatures 
thought  themselves  very  fine  indeed  if  they  were  attired  in  robes  on  which 

impossible  peacocks  and  birds  of  paradise — whose  plumage  certainly  resembled 

nothing  terrestrial — were  displayed.  We  find  examples  of  these  dresses  in  the 
colored  prints  of  the  time,  and  occasionally  one  is  discovered  in  a long-forgotten 
trunk,  and  preserved  as  a precious  accessory  for  tableaux.  At  a later  period, 
indeed,  within  the  recollection  of  many  of  us,  dresses  were  covered  with  great 
sprawlings  in  glaring,  ill-contrasted  colors,  such  as  none  but  a savage  of  to-day 
would  delight  in.  And  now  we  have  such  patterns  as  these — neat,  carefully 
designed,  with  proper  regard  for  the  color-effect,  and  altogether  pleasing  and 
attractive  to  the  eye. 

From  the  truly  regal  display  of  porcelain  made  by  the  Royal  Porcelain 
Works  at  Berlin,  we  select  for  illustration  two  figures,  each  a masterpiece  in 
its  way.  The  one  is  a large  oval  vessel  intended  to  be  used  as  a Wine- 
cooler.  or  if  desired  it  can  be  used,  as  it  is  at  the  present  time,  for  a 
Jardiniere.  In  either  use  it  makes  a very  striking  and  beautiful  object;  but 
the  design  and  style  of  ornamentation  make  the  former  purpose  preferable. 
The  material,  though  porcelain,  is  treated  so  as  to  resemble  Italian  majolica, 
and  none  but  an  expert  could  pronounce  upon  its  genuineness.  The  design 
is  masterly  and  the  execution  faultless.  Nothing  could  be  more  spirited  than 
the  lines  of  the  Triton’s  head,  the  modeling  of  the  mermaids  who  clasp  hands 
above  his  waving  locks,  and  the  graceful  curves  of  their  attitude.  The  handles 


INDUSTRIAL  ART. 


77 


Print  Patterns:  American  Print  Works,  Fall  River,  Mass. 


on  either  side  are  ornamented  with  masks  and  scroll-works  sug-g-estinq-  shells 
and  a simple  border  above  and  below  serves  to  give  finish  to  the  rim  and  base 


78 


THE  INTERN  ATIO  NAL  EXHIBITION,  1876. 


There  is  an  entire  absence  of  anything  like  “finnikiness”  about  the  ornamen- 
tation of  the  piece  that  makes  it  appear  peculiarly  massive  and  noble.  Every 
part  of  the  design  is  drawn  with  a strong,  bold  hand,  suggestive  of  the  best 
period  of  this  style  of  work.  The  vase  is  of  an  entirely  different  style  and 
treatment.  Its  material  is  the  hard  porcelain  made  in  Europe,  and  on  its  glossy 
white  surface  are  painted  dowers  copied  with  careful  exactness  after  nature. 
Long  practice  in  the  art  of  dower-painting  has  enabled  the  Berlin  artists  to 
bring  their  work  to  the  highest  state  of  perfection ; and  the  roses  here  repre- 
sented blend  their  hues  as  perfectly  as  if  painted  with  nature’s  pencil. 

The  superb  Mirror  which  we  engrave  on  page  81  is  from  the  display  of 
the  Messrs.  Elkington  & Co.,  of  London,  manufacturing  silversmiths  and  art- 
workers  in  the  precious  and  other  metals.  Silver,  gold  and  steel  enter  into 
the  composition  of  this  piece,  which  in  beauty  of  design,  fulness  of  elaboration, 
and  mastery  of  technical  execution,  is  one  of  the  dnest  examples  of  modern 
metal-work  in  the  Exhibition. 

In  style  this  mirror  has  all  the  richness  of  dnish  and  elaboration  without 
weakening  by  overloading,  with  ornament  of  the  best  period  of  the  Italian 
Renaissance.  In  his  design  the  artist  has  been  singularly  happy  in  his  choice 
of  subjects  for  illustration.  Nothing  could  be  more  beautiful  and  suggestive 
than  the  groups  with  which  the  piece  is  adorned. 

The  mirror  proper  is  a sheet  of  heavy  plate-glass,  of  an  oval  shape,  with 
beveled  edges.  This  is  encircled  by  a smooth,  slightly  rounded  frame  of  steel 
damaskeened  in  gold  in  the  most  delicate  of  arabesque  scroll  patterns.  At 
intervals  between  these  scrolls  are  gracefully-drawn  birds,  some  resting  balanced 
on  a spray,  and  others  winging  their  dight  through  the  air.  The  plumage  of 
these  beautiful  feathered  creatures  is  indicated  by  chasing  so  minute  that  the 
aid  of  a glass  is  necessary  to  appreciate  its  fineness. 

Encircling  the  steel  frame  is  another  of  silver,  in  which  the  mirror  swings. 
This  frame  is  ornamented  with  sprays  of  leaves  and  fiowers  beaten  out  and 
chased  in  the  manner  known  as  repousse  work.  The  sockets  for  the  support 
of  the  mirror  are  also  finished  by  the  same  method.  On  either  side  of  this 
frame  and  welded  to  it  are  uprights  or  pillars  of  silver  backed  by  steel.  On 
these  pillars,  resting  on  a ledge  a third  of  the  height  up,  are  Greek  vases  con- 
taining sprays  of  fiowers,  also  done  in  repousse  work.  Above  the  fiowers  are 


IN  DUST  RI A L ART. 


79 


garlands,  gracefully  festooned  below  the  capitals  of  the 
with  masks  and 

little  child.  In  the  Vase  : Roval  Porcelain  Works.  Berlin. 


pillars,  which  ar(;  finished 
one  grouj)  the  little 
fellow  is  holding  iq; 
a glass  to  catch  the 
reflection  of  his  com- 
panion’s face;  and  in 
the  other  he  is  i)lay- 
ing  with  a fan  while 
in  the  act  of  listen- 
ing. These  groujjs 
are  very  well  worthy 
of  study.  The  pose 
of  each  one  of  the 
figures  is  admirably 
rendered ; the  expres- 
sion on  each  face  is 
wrought  with  skill, 
and  the  drapery  is 
perfect.  Surmount- 
ing the  pillars  are 


Wine-cooler:  Royal  Porcelain  Works,  Berlin. 


pairs  of  doves,  in  attitude  and  expression  as  lifelike  as  possible:  every  feature 
of  their  winofs  is  executed  with  wonderful  minuteness  and  softness. 

o 


8o 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 876. 


Crowning  the  arch  above  the  mirror  is  as  charming  a group  as  ever 
assisted  at  a lady’s  toilet.  Two  little  cupids  are  nestled  there,  one  standing 
up  and  holding  a lighted  torch  in  his  hand;  while  the  other,  crouched  at  his 
feet,  is  looking  down  as  if  in  admiration  at  the  fair  consultor  of  the  glass. 
The  idea  conveyed  by  the  attitude  and  expression  of  these  little  loves  is 
exceedingly  charming.  No  one,  no  matter  how  homely,  can  look  into  the 
mirror  without  being  conscious  that  here  at  least  are  two  who  are  struck  with 
admiration  of  her  charms. 

All  of  these  groups  just  described  are,  like  those  first  mentioned,  done  in 
silver  and  finished  by  the  graver’s  tool.  In  the  same  kind  of  work  are  the 
pair  of  winged  cupids  who  seem  to  have  been  playing  hide-and-seek,  and  to 
have  come  suddenly  upon  each  other  while  flying  round  the  medallion  which 
ornaments  the  base  of  the  silver  frame.  Their  little  faces  betray  mischief,  glee 
and  a pleased  surprise  at  their  sudden  rencounter.  One  can  easily  imagine 
that  they  have  but  just  flown  out  from  behind  the  back  of  the  glass,  and  that 
a whole  troup  of  their  gay  companions  is  still  romping  there. 

This  completes  the  ornamentation  in  detail.  Now  we  see  how  artistically 
all  combine  to  make  an  harmonious  whole.  Nor  can  we  fail  to  be  attracted 
by  tlie  purity  of  the  way  in  which  the  theme  has  been  treated.  As  to  the 
technical  execution,  we  have  already  spoken  of  it  with  the  highest  praise. 
There  is  but  one  point  further  that  we  would  call  attention  to,  and  that  is  the 
damaskeened  work.  There  are  three  ways  of  doing  this:  either  by  making  a 
fine  incision  with  the  graver’s  tool,  and  fastening  in  a thread  of  gold  wire, 
which  is  the  oldest  and  best  method  ; by  hacking  the  surface  with  a knife  and 
fastening  the  gold  on  superficially:  or  by  etching  the  pattern  in  with  acid  and 
then  placing  the  gold  in  the  cavity.  This  last  method  approaches  the  former 
in  effect  and  finish;  and  cannot  readily  be  detected  from  it,  and  it  Is  either  by 
this  method  or  by  the  first-mentioned  process  that  the  wonderful  damaskeened 
work  of  the  Messrs.  Elkington  is  done. 

Our  next  engraving  represents  the  Chili  Cup,  exhibited  by  Reed  & Barton, 
of  Taunton,  Mass.  This  fine  example  of  the  art  of  the  silversmith  was  sent 
by  the  manufacturers  to  the  Chilian  Exposition,  where  it  gained  a prize,  and 
has  since  been  known  by  the  name  given  above.  Looking  at  it  in  detail,  we 
observe  that  the  cup  rests  upon  a square,  polished  stand,  without  any  decora- 


INDUSTRIAL  ART. 


8i 


tion  save  a narrow  raised  border  of  leaves  and  flowers.  Encircling  the  base 
of  the  cup  is  a beautiful  floriated  design  in  low  relief,  and  on  this  base,  resting 
against  the  central  shaft,  are  two  large  shell-shaped  vessels  of  polished  silver. 


Mirror : Elkington  Co.,  London. 


without  any  decoration  except  some  simple  chasing  on  the  inner  side  of  the 
rim.  Resting  on  the  base  are  tree-ferns — wonderfully  perfect  copies  of  these 
graceful  plants — so  disposed  as  to  give  a pretty  finish  to  this  portion  of  the 


82 


THE  INTERNATIONAL  EXHIBITION,  1876. 


design.  On  the  sides  of  the  shaft,  raised  somewhat  above  the  shell-shaped 
vessels  by  curved  branches,  are  finely-cut  glass  dishes  with  silver  pendants. 
At  this  level  the  shaft  separated  into  two  slender  branches,  covered  with  delicate 
ferns  twining  about  them;  and  the  branches  themselves,  first  bending  outward 
and  then  inward,  form  a harp-shaped  figure,  within  which  is  a charming  group 
of  Venus  and  Cupid.  Cupid  has  evidently  been  about  some  mischief,  for  his 
mother  has  taken  his  bow  away  from  him  and  is  holding  it  behind  her  back 
with  one  hand,  while  the  other  is  raised  to  give  emphasis  to  her  admonition. 
The  little  fellow  stands  in  defiant  attitude,  as  if  conscious  of  no  wrong  done, 
but  it  will  not  be  long  before  he  will  be  begging  for  his  bow  again,  for  without 
that  he  can  have  no  further  sport.  Balanced  on  the  upper  part  of  the  branches 
is  a vase  of  crystal  and  silver,  its  base  surrounded  by  pendants,  and  the  same 
design  of  branches  and  fern-leaves  carried  out  on  a still  smaller  scale.  The 
effect  of  the  whole  figure  is  peculiarly  light  and  airy^  and  if  we  imagine  the 
vase  and  dishes  filled  with  flowers  and  fruit,  there  could  hardly  be  a more, 
chaste  or  elegant  centre-piece  for  a table. 

We  wish  that  it  was  possible  to  give  to  those  of  our  readers  who  may  not 
be  fortunate  enough  to  see  it  a good  idea  of  the  wonderful  play  of  light  and 
the  surprisingly  rich  effect  of  color  in  this  glass  Vase  of  Lobmeyr’s.  But 
neither  engraving  nor  words  can  do  more  than  suggest  its  brilliant  appearance. 
In  the  sunlight  no  jewel  reflects  rarer  prisms  of  color  than  flash  from  its 
angles.  By  looking  at  the  engraving  it  will  be  seen  that  the  shape  of  this 
vase  is  of  an  admired  Greek  pattern.  Its  handles,  twisted  like  those  of  the 
Urbino  vases,  represent  serpents,  their  heads  pressed  flat  down  upon  the  rim 
in  an  attitude  of  watchfulness,  and  their  bodies  attached  by  finials  to  the  bowl. 
The  vase  itself  is  composed  of  crystal,  enameled  with  red  glass.  Around 
the  body  extends  a broad  zone  containing  scroll-work  and  figures  cut  through 
the  enamel  to  the  crystal.  The  engraving  here  is  of  the  most  minute  descrip- 
tion, every  leaf  and  tendril  being  worked  up  with  infinite  pains.  In  the 
centre  of  the  zone  is  a winged  female  figure,  supported  on  either  hand  by 
lions  conventionally  treated.  There  is  no  ornamentation  upon  the  stem  and 
base  of  the  vase,  but  it  rests  upon  a pedestal,  with  lions’  heads  as  handles,  and 
the  shaft  engraved  with  lovely  festoons  held  up  by  ribbons.  The  work  here  is 
as  minute  and  intricate  as  that  above,  though  the  design  is  not  so  elaborate. 


INDUST R.1AL  ART. 


«3 


Chili  Cup  : Reed  Barton,  Taunton,  Mass 


84 


THE  INTERNATIONAL  EXHIBITION,  1876. 


For  a drawing-room  ornament,  or  for  a collector’s  cabinet,  or  for  purposes  of 
illustration  in  a museum,  we  have  seen  no  single  piece  of  crystal  that  is  a 
better  example  than  this  of  the  perfection  of  modern  glass-working. 


Vase : Herr  Lobmeyr,  Vienna. 


We  wonder  that,  in  these  days  of  collection-making,  more  people  have 
not  taken  to  getting  together  specimens  of  artistic  glass'  Certainly  a well- 
selected  assortment  of  choice  crystal  makes  one  of  the  most  beautiful  and 


INDUSTRIAL  ART. 


85 


86 


THE  INTERNATIONAL  EXHIBITION,  1876. 


interesting  collections  that  it  is  possible  to  make.  At  present  the  china-mania 
seems  to  have  gained  almost  complete  possession  of  the  public. 

The  elegant  Silver  Service  which  we  engrave  on  page  85  is  selected  from 
the  large  and  beautiful  exhibit  made  by  the  Messrs.  Bailey  & Company,  of  this 
city.  It  consists  of  eight  pieces — the  urn,  coffee-,  tea-  and  chocolate-pots,  sugar- 
bowl,  cream-pitcher,  waste-basin  and  waiter — all  of  solid  sterling  silver,  elabo- 
rately ornamented  with  repotisse  work.  We  are  glad  to  see  that  it  is  again 
becoming  fashionable  to  place  the  urn  upon  the  table,  for  certainly  it  is  one 
of  the  most  beautiful  vessels  in  itself,  and  its  use  is  so  suggestive  of  comfort 
and  good  company,  that  it  is  a pity  it  was  ever  banished.  At  breakfast  and 
at  tea  its  place  on  the  table  as  an  ornamental  feature  is  as  prominent  as  that 
of  the  epergne  at  dinner.  All  the  other  vessels  and  dishes  are  subservient  to 
it.  Notice  how  in  this  group  it  dominates  all  the  other  pieces  and  gives  a 
finish  and  completeness  to  the  whole,  which  without  it  as  a central  figure  could 
not  be  expressed.  It  will  be  observed  also  that  its  form  and  manner  of  deco- 
ration give  the  motif  for  the  design  in  the  rest  of  the  set.  Resting  upon  a 
beautifully-shaped  stand  on  four  feet,  and  so  arranged  as  to  contain  the  spirit- 
lamp,  the  urn  rises  graceful  and  symmetrical  as  a Greek  vase.  On  either  side 
of  the  ovoid-shaped  body  are  the  curved  handles,  and  surmounting  it  is  the 
crown-shaped  lid,  terminating  in  an  ornamental  knob.  Every  portion  of  the 
urn  and  stand  is  decorated  with  repousse  work  of  the  most  elaborate  descrip- 
tion. Flowers,  leaves  and  grasses  twine  and  intermingle  over  its  surface  with 
all  the  luxuriance  of  nature.  Yet  while  thus  simulating  a natural  growth,  each 
spray  and  tendril  has  been  placed  in  position  by  the  cunning  hand  of  the  artist, 
whose  trainino^  enables  him  to  decide  where  it  will  be  most  effective.  If  the 
other  pieces  are  examined  carefully  it  will  be  seen  that  the  same  general 
grouping  of  natural  objects  has  been  followed  in  their  decoration  ; so,  too,  it 
will  be  observed  that  the  design  of  these  other  vessels  follows  the  same  curves 

o 

as  in  the  urn  wherever  it  is  possible.  Of  course  in  the  pitcher  an  allowance 
has  been  made  for  the  bend  of  the  lip,  and  in  the  pots  a spout  must  be  made 
which  shall  harmonize  with  the  handle.  To  accomplish  this  last-named  effect 
is,  by  the  way,  one  of  the  most  difficult  things  in  designing  a tea  or  breakfast 
service.  It  is  rarely  that  one  finds  a really  satisfactory  tea-pot  or  coffee-pot. 
When  the  curves  of  a spout  balance,  so  to  speak,  those  of  the  handle,  we 


INDUSTRIAL  ART. 


87 


and  high,  round 
handle.  But  this 
honest,  homely 
little  body  rarely 
rose  above  a 
place  beside  the 
logs  in  the  fire- 
place. There  it 
sung  and  was 
comfortable;  and 
it  would  make 
but  a sorry  figure 
if  introduced  to 
the  company  of 
such  fine,  twisted 
objects  as  now 
glitter  and  shine 
upon  the  tables 
of  nearly  every 
one  who  has  the 


may  have  some- 
thine  altogether 

o o 

lovely  in  appear- 
ance; but  when 
we  put  the  beau- 
tiful object  to 
the  test  of  ac- 
tual use,  we  find 
that  the  liquid, 
instead  of  flow- 
ing from  the 
proper  orifice  in 
an  abundant 
stream,  first 
trickles  from  the 
nozzle,  and  then, 
as  we  continue  to 
tip  the  vessel, 
bursts  from  un- 
der the  lid  with  a 
sudden  outpour- 
ing that  Is  as 
astonishing  as  it 
is  overwhelming. 

o 

Perhaps  the  most 
satisfactory  shape 
for  pouring  pur- 
poses is  the  old- 
fashioned  tin  or 
earthenware 

kettle  with  its  stiver  candelabra : M.  Chrtstesen,  Denynark. 

Straight  spout 

The  material  is  solid  silver,  with  gold  gilt  ornamentation. 


means  to  pur- 
chase them. 

On  this  page 
we  give  an  illus- 
tration of  the  sil- 
versmith’s art  as 
practised  in  Den- 
mark. It  is  a 
Candelabra  ex- 
hibited by  M.  V. 
Christesen,  of 
Copenhagen. 

The  piece  stands 


about  thirty  inches  high,  and  is  covered,  with  the  exception  of  the  figures. 


88 


THE  INTERNATIONAL  EXHIBITION,  1876. 


with  fine  chasing  and  relief-work  from  base  to  top.  The  candelabra  rests 
upon  a triangular-shaped  standard  ornamented  with  dolphins’  heads,  masks  and 
medallions  in  gold  gilt.  Around  the  edge  is  a very  pretty  border  of  chasing. 
Resting  upon  a cup-shaped  base  are  four  gilt  figures  of  children,  standing 
back  to  back  and  clasping  hands  around  the  shaft.  These  figures  are  cut  in 
very  high  relief  and  thoroughly  well  designed  and  executed.  Just  over  their 
heads  is  a zone  of  masks,  and  above  that  the  shaft  tapers  up  to  a capital  of 
Corinthian  shape.  Above  that,  again,  the  six  curved  branches  of  the  candelabra 
unite,  and  from  their  junction  rises  a pedestal  on  which  a charming  little  cupid, 
with  a wreath  and  bow,  poses  as  lightly  and  airily  as  if  he  had  just  alighted 
there.  The  branches  terminate  in  skillfully-executed  women’s-heads,  on  which 
rest  the  candle  sockets.  These  heads  are  gilded,  and  a fine  gilt  line  winds 
around  the  stems  beneath  them  in  a manner  similar  to  the  work  on  the  main 
portion  of  the  shaft.  This  beautiful  article  is  exhibited  by  M.  Christisen  with 
a group  of  table  furniture,  and  its  position  and  size  indicate  that  it  also  is 
intended  for  table  use.  In  Europe,  even  in  those  portions  where  gas  has  been 
largely  introduced,  most  people  prefer  the  soft  and  subdued  light  of  candles  to 
the  dazzling  glare  of  the  other  means  of  illumination  ; and  as  it  is  customary 
to  place  the  candles  on  the  table,  many  elaborate'  and  beautiful  devices  are 
made  to  hold  them.  Certainly  no  one  who  has  seen  a handsome  feast  set  off 
in  this  way  will  deny  that  the  effect  is  much  more  pleasing  than  can  be  pro- 
duced by  any  arrangement  of  gas. 

The  Fountain  which  we  engrave  on  page  89  is  a very  remarkable  illus- 
tration of  the  admirable  adaptation  of  the  ware  made  by  the  Messrs.  Doulton, 
of  Lambeth,  England,  to  purposes  of  decoration,  or  rather  ornamentation,  on 
a comparatively  large  scale.  This  fountain,  which  stands  about  eight  feet  high, 
is  composed  entirely  of  the  peculiar  composition  known  as  Doulton-ware,  and 
is  modeled  after  designs  furnished  by  the  promising  young  artist  and  sculptor, 
Mr.  George  Tinworth,  of  London.  The  prevailing  colors  in  this  spirited  and 
artistic  production  are  rich  browns,  greens  and  yellows,  which  blend  together 
in  a subdued  and  harmonious  way  that  is  very  effective.  The  basin  of  the 
fountain,  which  is  about  seven  feet  in  diameter,  is  surrounded  by  a border  of 
large  leaf-shaped  figures,  with  others  backing  up  against  their  interstices.  From 
the  centre  of  the  basin  rises  an  imitation  rock-work  construction  with  caves 


industrial  art. 


89 


Fountain ; Doulton  &>  Co.,  Lambeth,  England. 


’"<1  holl 


ire 


from  which  grasses  and  aquatic  plants  depend.  At  intervals  around  this  rock-work 


'^Jlly-modeled  swans,  and  by  a clever  contrivance  the  water  is  raised  to  a level  with 


90 


THE  IN-TERN  ATIO  NAL  EXHIBITION,  1876. 


their  bellies,  so  that  the  birds  seem  actually  to  be  swimming  and  disporting 
themselves  in  their  favorite  element. 

Above  this  rock-work  and  resting  on  it  as  a base  is  a platform  with  three 
curvilinear  sides  and  rounded  ends,  from  the  centre  of  which  rises  a sheaf  of 
rushes,  which  forms  the  shaft  of* the  fountain.  About  this  sheaf  is  grouped  a 
trio  of  cupids  riding  astride  of  dolphins  which  the  little  fellows  have  captured 


Creek  Vases : A.  B.  Daniell  Son,  London. 


and  harnessed.  The  modeling  of  these  figures  is  particularly  clever.  Each  one 
is  different,  yet  it  would  be  hard  to  select  any  one  as  the  best.  Swans 
coquetting  and  pluming  their  feathers  complete  this  group.  Above  is  a second 
but  smaller  basin  shaped  like  a shell  with  scolloped  edges.  From  its  centre 
and  forming  a continuation  of  the  shaft  is  a group  of  storks,  standing  back 
to  back,  as  erect  and  stately  as  if  conscious  of  their  reputation  for  wisdom. 
Above  them  is  a third  and  smaller  basin,  resembling  the  second  in  shape,  and 


INDUSTRIAL  ART. 


91 


above  it  the  shaft  terminates  in  the  tall  seed-stalks  of  the  rushes,  crowned  by 
a bunch  of  pods. 

In  the  treatment  of  his  design  Mr.  Tinworth  has  made  a happy  blending 
of  conventionalism  and  realism,  and  has  confined  himself  to  a strict  simplicity 
of  detail  with  a success  attainable  only  by  artists  of  exceptionable  ability.  The 
mechanical  ex.ecution  of  the  piece  is  also  worthy  of  mention.  The  colors  are 


Group  of  Artistic  Pottery : Gustafsberg  Co.,  Sweden. 


remarkably  even  and  pure,  and  the  salt-glaze  of  the  Doulton  process  gives 
them  a brilliancy  and  lustre  unattainable  by  any  other  means. 

From  the  collection  of  rare  porcelain  and  faience  made  by  A.  B.  Daniell 
& Son,  of  London  — certainly  one  of  the  choicest  ceramic  exhibits  at  the 
Centennial — we  illustrate  two  of  their  beautiful  Greek  Vases,  modeled  after 
well-known  specimens  in  the  British  Museum,  and  decorated  by  the  patc-sur- 
pate  process  by  the  celebrated  artist  M.  Solon,  formerly  of  Sevres,  but  now 
in  the  employ  of  the  Messrs.  Minton,  of  England.  These  vases  are  of  a 


92 


THE  INTERNATIONAL  EXHIBITION,  1876. 


chocolate-brown  color,  so  deep  in  shade  as  to  seem  to  be  black  in  certain 
lights.  The  base  and  the  lower  portion  of  the  body  are  decorated  with  gold 
lines  in  the  sunken  portions  of  the  modeling.  On  the  zone  which  surrounds 
the  body  throughout  its  greatest  length  are  figures  of  the  Graces  and  Cupids 
drawn  Avith  unsurpassed  delicacy  and  skill.  We  have  already  described  the 
pate-sur-pate  process  at  length,  but  it  may  be  as  well  here  merely  to  remind 
our  readers  that  this  painting  is  done  with  a sort  of  liquid  china,  which  in  its 
wet  state  is  opaque;  but  after  firing,  this  paste  becomes  either  semi-transparent 
or  opaque,  according  to  the  thickness  with  which  it  is  laid  on.  The  practice 
and  skill  necessary  to  produce  artistic  results  by  this  method,  as  well  as  the 
care  requisite  in  the  firing,  are  sufficient  reasons  for  the  extreme  costliness  of 
the  articles  thus  produced.  This  pair  of  vases  have  been  bought  by  Henry 
Gibson,  Esq.,  of  Philadelphia. 

The  upper  part  of  these  vases — the  neck,  handles  and  lip — are  ornamented 
with  fine  enameling  in  red  and  yellow,  after  approved  Greek  patterns.  These 
enamels  are  very  rich  and  brilliant,  and  though  sparingly  applied,  are  an  exceed- 
ingly effective  feature  of  the  general  design. 

The  group  of  articles  which  we  engrave  on  page  91,  in  variety  of  form 
and  material  give  an  excellent  idea  of  the  character  of  the  exhibit  made  by 
the  Gustafsberg  Coiubany,  of  Sweden.  Here  is  terra-cotta,  parian,  imitation 
majolica,  and  different  qualities  of  porcelain.  The  large  vases  on  either  side 
of  the  engraving  are,  as  will  be  seen  on  inspection,  different  views  of 
the  same  piece,  which  occupies  the  place  of  honor  in  the  Messrs.  Gustafsberg 
exhibit,  and  is,  undoubtedly,  the  dicf  d'acuvre  of  the  collection.  This  vase 
stands  about  lour  feet  high,  and  from  the  foot  upwards  is  one  solid  piece  of 
porcelain.  The  general  color  of  the  piece  is  a clear  sky-blue  of  remarkable 
evenness.  The  border  around  the  foot,  the  channels  around  the  lower  part  of 
the  body,  the  scroll-work  above  and  the  relief-work  generally  are  gilded  with 
gold.  The  zone  around  the  middle  of  the  vase  contains  a finely-painted  subject 
representing  the  procession  of  the  Arts.  The  coloring  of  the  figures  is  very 
rich  and  varied,  and  they  are  seen  with  clearness  against  the  back-ground  of 
pure  white  enamel. 

A vase  of  Persian  shape,  decorated  with  figure-subjects  of  Peace  and  War, 
crowns  the  group.  Other  vases  of  different  styles  and  shapes  can  be  seen 


INDUSTRI A L ART. 


93 


dispersed  through- 
out the  collection. 
Fine  porcelain  din- 
ner-services, plainly 
but  richly  decorated 
with  bands  of  color, 
will  be  observed 
also.  An  excellent 
beer-mugof  cream- 
colored  stone,  with 
blue  enamel  in  re- 
lief ornamentation 
after  the  German 
style,  is  here,  and 
also  a ewer  of  an 
Urbino  pattern  in 
majolica.  The  fine 
group  called  “The 
Grapplers,”  which 
we  illustrated  in  a 
recent  number,  and 
numerous  busts 
and  statuettes  in 
parian,  will  be 
observed,  as  also, 
standing  just  back 
of  the  majolica 
fruit-dish,  a pair  of 
covered  vases  in 
parian  of  the  open- 
work or  basket- 
pattern  which  is  so 
much  admired. 

The  beautiful 


Persian  Vase  and  Pedestal : Herr  Lobmeyr^  Vienna. 


Persian  Vase  and 
Pedestal  exhibited 
by  M.  Lobmeyr,  of 
Vienna,  and  en- 
graved by  us  on 
this  page  is  a very 
beautiful  specimen 
of  the  highly  art- 
istic effects  obtain- 
able in  crystal.  In 
color  it  is  a rich 
ruby  red  of  aston- 
ishing brilliancy, 
which  is  heightened 
by  the  superb  dec- 
oration, which  con- 
sists entirely  of 
gold  gilding. 

We  would  call 
special  attention  to 
this  decoration,  for 
it  Is  an  admirable 
illustration  of  the 
advantaore  of  art 

o 

education.  It  is  in 
the  spirit  and  style 
of  that  wonderful 
nation  — the  Per- 
sian— whose  deco- 
rative designs  are 
seen  and  admired 
in  every  part  of 
Christendom,  and 
whose  influence  in 


94 


THE  INTERNATIONAL  EXHIBITION,  1876. 


this  branch  of  art  has  been  perhaps  greater  than  any  other  people.  Any  one 
familiar  with  Persian  work  will  see  how  thoroughly  this  decorator  has  mastered 
their  principles  of  design;  and  this  mastery  could  only  be  attained  by  facilities 
for  study  such  as  only  Europe  affords. 

The  most  ignorant  observer  will,  although  unable  to  give  the  reason  of  it, 
notice  the  beauty  and  harmony  of  the  whole  effect;  yet,  if  he  reflects  for  a 
moment,  and  if,  while  remarking  the  astonishing  amount  of  work  there  is  on  this 
vase,  he  has  judgment  enough  to  perceive  that  it  is  subservient  to  the  design 
itself  and  entirely  unobtrusive,  one  of  its  main  claims  to  excellence  will  have 
been  discovered. 

The  term  arabesque,  which  is  used  to  designate  the  intricate  scroll-  and 
leaf-patterns  such  as  are  seen  about  the  zone  of  this  vase,  implies  that  this 
style  was  invented  by  the  Arabs.  But  one  of  the  very  best  authorities  of 
modern  times — Major  R.  Murdock  Smith,  R.  E. — asserts  that  the  Arabs  never 
were  an  artistic  people,  although  their  rulers  were  distinguished  patrons  of  the 
arts.  Nevertheless,  these  rude  people  knew  enough  to  adopt  and  carry  with 
them  the  arts  of  the  people  they  conquered.  Thus  when,  after  conquering 
Persia,  they  overran  Europe,  establishing  themselves  in  Spain,  they  gave  to  the 
latter  country  as  their  own  what  they  had  acquired  in  Persia.  The  same  high 
authority  mentioned  above  is  of  the  opinion  that  it  is  far  from  improbable  that 
even  the  Alhambra  itself  was  chiefly  the  work  of  Persians,  who  stood  to  the 
Arabs  in  much  the  same  relation  that  the  Greeks  did  to  the  Romans. 

The  many  uses  to  which  art  needlework  can  be  put  is  well  illustrated  by 
the  exhibition  made  by  the  Royal  School  of  Art  Needlework,  of  London. 
We  give  three  examples  on  page  95.  The  first  of  these  is  an  Ottoman  Cover, 
embroidered  in  a very  delicate  flower-  and  leaf-pattern  after  a manner  which 
is  a favorite  one  among  the  pupils  of  the  School.  This  consists  of  copying 
the  leaves  and  flowers  in  color  and  veining  with  careful  exactness,  and  at  the 
same  time  conventionalizing  their  general  arrangement  to  allow  of  the  repetition 
of  the  design  as  part  of  one  pattern. 

The  second  piece  is  a Cabinet  with  a figure-subject,  also  embroidered — 
the  design  evidently  the  work  of  an  artist,  probably  Crane  himself.  Work  of 
this  character  requires  long  practice  and  skill  with  the  needle,  as  well  as 
instruction  by  competent  individuals.  But  the  general  result  is  so  satisfactory, 


INDUSTRIAL  ART. 


95 


and  the  work  itself  is  so  thoroughly  feminine,  that  we  sincerely  trust  some- 
thing of  the  same  kind  will  be  attempted  in  this  country.  We  have  a fancy 


that  our  lack  of  art  schools  and  other  institutions  where  women  can  learn  to 
employ  themselves  usefully  and  profitably  at  work  which  is  in  itself  interesting 


96 


THE  INTERNATIONAL  EXHIBITION,  1876. 


and  beautiful,  is  one 
of  the  causes  which 
drives  them  to  so 
unsex  themselves  as 
to  seek  to  engage  in 
men’s  affairs.  Give 
our  American 
women  the  same  art 
facilities  as  their  Eu- 
ropean sisters,  and 
they  will  flock  to  the 
studios  and  let  the 
ballot-box  alone. 

On  this  page  we 
engrave  the  bronze 
bust  of  a woman 
who  lived,  if  she 
lived  at  all,  in  a time 
when  men  would 
have  scorned  the 
thought  that  any  of 
her  sex  could  minis- 
ter to  their  intel- 
lectual pleasure. 
Her  whole  duty  in 
life  was  to  make 
herself  beautiful — to 
present  herself  be- 
fore her  lord  decked 
out  in  all  the  bravery 
of  barbaric  orna- 
ment. How  elabo- 
rate this  was  can  be 
estimated  from  the 


Bronze  Column  and  Bust : Mitchell ^ Vance  ^ Co,,  JV.  V, 


elaborateness  of  the 
head-dress  which  we 
see  here.  Yet  no 
one  can  look  upon 
the  perfect  contour 
of  this  face,  the  firm 
lips,  the  noble  brow, 
and  calm,  steadfast 
gaze  of  the  eye, 
without  believing 
that  here  at  least 
was  a woman  in- 
tellectually man’s 
equal. 

This  beautiful 
bronze,  which  is 
equal  in  artistic 
merit  to  anything 
shown  in  the  French 
or  German  Courts, is 
from  the  American 
exhibit  of  Messrs. 
Mitchell,  Vance  & 
Co.,  of  New  York. 
The  reader  will  not 
fail  to  observe  the 
bronze  pedestal  on 
which  the  bust  rests, 
which  is  in  itself  a 
remarkably  fine  and 
perfect  piece  of  de- 
signing. The  pedes- 
tal is  triangular  in 
shape,  its  columnar 


INDUSTRIAL  ART. 


97 


ornamentation — the  up- 
per and  lower  members 
— having  all  the  sim- 
plicity and  severity  of 
Egyptian  outlines.  The 
decoration  of  the  base 
has  a certain  orientalism 
in  the  arrangement  of 
the  pyramidal  designs, 
and  the  lotus — the  sacred 
flower  of  the  Nile — is 
worked  in  as  an  acces- 
sory to  the  detail. 

There  is  something 


peculiarly  suggestive  and 
appropriate  in  choosing 
for  the  ornamentation  of 
a clock — a mechanical 
apparatus  that  records 
the  flight  of  time — em- 
blems and  figures  taken 
from  that  country  whose 
very  existence  to-day  is 
a constant  reminder  of 
the  centuries  gone  by, 
whose  monuments  stand 
as  silent  but  sublime  rec- 
cords  of  the  glory  of  past 


Egyptian  Clock:  Mitchell,  Vance  Co.,  New  York, 


98 


THE  INTERNATIONAL  EXHIBITION,  1876. 


ages.  The  very  name  of  Egypt  brings  up  to  the  imagination  the  splended  reigns 
of  the  Ptolomies  and  the  Pharaohs,  the  superb  pageants  that  are  recorded  in 
pictorial  inscriptions  on  the  tombs  of  the  kings  and  in  the  comparatively  modern 
papyrus  and  manuscript.  And  the  fact  that  but  a few  of  the  stupendous  works 
of  that  astonishing  epoch  of  civilization  are  preserved  to  us  intact,  while  our 
means  of  comparison  are  entirely  inadequate  to  apply  to  the  even  more  stupen- 
dous ruins  that  uprear  themselves  above  the  present  level  of  the  land,  makes  us 
contemplate  the  achievements  of  that  age  with  something  akin  to  awe.  Who 
dare  say  what  was  the  limit  of  the  knowledge  of  the  ancient  Egyptians  ? 
Who  can  affirm  that  that  vast  monument  of  manual  labor,  that  grandest 
achievement  of  engineering  skill  known  to  the  world — the  Great  Pyramid — 
does  not  stand  the  silent  monument  to  some  gigantic  discovery  in  science  of 
which  we  know  absolutely  nothing? 

Once  it  was  thought  that  this  monument  was  but  the  shrine  of  a king — 
that  the  carefully-concealed  chamber  with  its  stone  sarcophagus  was  the  place 
where  the  royal  dust  reposed.  Later  it  was  discovered  that  this  theory  was 
untenable  on  many  accounts,  and  at  length  a famous  astronomer  advanced  a 
theory  that  the  whole  structure  symbolized  a knowledge  of  the  planetary  system, 
of  the  shape,  size  and  motion  of  the  earth,  comparable  with  our  latest  dis- 
coveries. Certainly  the  coincidence  of  his  deductions  with  the  position,  size 
and  shape  of  the  several  passages  and  chambers  was  more  remarkable  if  his 
premises  were  wrong  than  if  they  were  true.  Perhaps  in  future  ages  the  true 
meaning  of  the  Great  Pyramid  may  be  discovered,  and  our  age  be  reckoned 
as  a night  between  two  days. 

One  cannot  look  at  this  beautiful  work  of  Mitchell,  Vance  & Co.  without 
its  ornamentation  taking  us  back  to  those  marvelous  times  and  so  reminding 
us  of  the  flight  of  time  and  the  mutations  which  all  things  mundane  undergo. 
The  vase,  the  shape  of  the  base,  and  the  smallest  feature  of  the  decoration 
have  been  studied  with  consummate  skill,  and  produce  a grand  effect.  The 
draped  female  heads  on  the  pedestals  at  the  side  have  a beauty  uniquely  their 
own.  The  kneeling  attendants  holding  aloft  their  fans  and  balancing  jars  upon 
their  heads  suggest,  by  their  costume  and  accessories,  long-forgotten  customs. 
The  zone  around  the  cJock-face  contains  the  symbols  of  the  months,  and  the 
winged  globe  above  may  typify  the  flight  of  our  sphere  through  space.  The 


INDUSTRIAL  ART. 


99 


thought,  the  conception  of  such  a design  as  this  was  an  inspiration,  and  the 
way  it  has  been  executed  shows  the  talent  and  skill  of  the  genuine  artist. 

We  engrave  on  this  page  a decorated  Disii  or  Plateau,  exhibited  by 
E.  G.  Zimmerman,  in  the  German  Court.  This  fine  and  elaborate  piece  of 
work  is  of  a class  too  highly  finished  and  too  costly  for  the  ordinary  uses  to 
which  plates  are  put,  but  it  is  designed  to  serve  a purely  artistic  end  by  being 


Silver  Plateau:  E.  G.  Zirmnerman  of  Hanau. 


suspended  from  the  wall  or  given  a place  on  a mantel  or  in  a cabinet. 

This  custom  of  using  artistic  plaques  and  plateaux  for  decorative  purposes 
is  extremely  popular  just  at  the  present  time;  and  as  the  fashion  is  a good 
one  and  founded  upon  thoroughly  artistic  principles,  it  is  likely  to  continue. 


lOO 


THE  INTERNATIONAL  EXHIBITION,  1876. 


No  one  who  has 
not  tried  the  experi- 
ment himself  or  seen 
it  tried  by  others  can 
realize  the  excellent 
effect  of  hanging  some 
brightly-colored  dish  or 
plate  such  as  this  upon 
the  wall  in  the  same 
manner  as  a picture. 
It  lights  up  a room 
wonderfully,  and  when 
several  of  them  are  so 
disposed  with  pictures 
and  engravings  at  ir- 
reg-ular  intervals  the 
tout-enser7ible  is  capi- 
tal. 

The  delicate  and 
shapely  Bronze  Lamp, 
which  is  the  subject  of 
our  next  illustration,  is 
one  of  the  beautiful  art 
productions  of  the  es- 
tablishment of  Messrs. 
SuSSE  FRERES,  of  PaRIS. 
France  has  always  been 
the  chief  centre  for  the 
manufacture  of  artistic 
bronzes,  and  it  is  to  the 
perseverance  and  en- 
ergy  of  such  establish- 
ments as  the  one  from 
which  this  example  is 


Lampidiare ; Susse  Bros,  Paris. 


taken  that  she  owes  her 
precedence. 

In  Paris,  which,  as 
far  as  art  products  go, 
is  France — in  Paris  the 
workman  possessed  of 
artistic  taste  or  inspira- 
tion has  unsurpassed 
and  perhaps  unequaled 
facilities  afforded  him 
for  the  study  of  design 
from  the  very  best 
models.  On  Sunday, 
which  is  the  working- 
man’s holiday,  the  visitor 
to  the  great  metropolis 
will  find  all  the  superb 
galleries  and  museums 
thronged  with  crowds 
of  cleanly,  orderly  arti- 
zans  of  both  sexes. 
These  people  have  paid 
no  entrance-fee  to  gain 
access  to  the  treasures 
about  them.  The  doors 
are  open  to  one  and 
all  irrespective  of  class, 
and  the  only  exaction 
is  an  orderly  and  deco- 
rous behavior. 

Visiting  any  one  of 
these  museums  on  a 
Sunday,  it  is  curious  to 
observe  what  keen  and 


INDUSTRIAL  ART. 


lOl 


evi- 


intelligent  critics  these  artisans  are.  Especially  in  subjects  with  which  their 
occupation  makes  them  acquainted,  is  their  judgment  just. 

Is  it  any 
wonder,  then, 
that  these  men, 
going  back  to 
their  work  at 
the  beginning 
of  the  week, 
take  with  them 
into  the  shops 
and  manufac- 
tories an  art- 
feeling, foster- 
ed and  encour- 
aged by  the 
splendid  ex- 
amples they 
have  been 
studying,which 
finds  expres- 
sion in  the 
work  they  af- 
terward pro- 
duce? No: 
when  we 
think  of  this 
fact,  the  reason 
why  French 
workmen  ex- 
ceed all  others 
as  art-workers 


becomes 
dent. 

Look  at  this 
Lamp  as  a 
specimen  of 
French  work. 
See  how  per- 
fectly plain 
and  simple  it 
is,  and  yet 
what  elegance 
and  grace  of 
proportion  it 
bears!  A thin, 
fluted  stand- 
ard supported 
on  curved  legs 
terminates  in 
a broad  capi- 
tal, on  which 
rests  a winged 
griffin.  Above 
this  figure  is  a 
rest  or  socket, 
in  which  stands 
the  body  of 
the  lamp,  a 
lovely  ampho- 
ra draped  with 
garlands  of 

flowers.  Light  chains  fastened  to  the  socket-ring  depend  nearly  to  the  base 
of  the  standard,  and  remove  the  appearance  of  thinness  to  that  portion  of  the 


Marble  Font:  Struthers  &•  Sons,  Philadelphia. 


102 


THE  INTERNATIONAL  EXHIBITION,  1876. 


article  at  the  same  time  that  they  give  an  effect  of  lightness.  Chain  orna- 
mentation such  as  this  was  practised  by  the  ancients  at  a very  early  day.  The 
Greeks  especially,  who  studied  ornamentation  of  all  kinds  with  zeal  and  enthu- 
siasm, early  discovered  the  fine  curves  and  lines  which  were  obtainable  by  this 
means;  and  the  reader  will  not  fail  to  observe  how  in  this  instance  this  simple 
addition  of  pendant  chains  finishes  and  completes  the  whole  design.  Supposing 
them  absent  from  this  lamp,  the  least  critical  observer  would  see  the  top-heavy 
appearance  that  would  be  presented.  Then  would  come  the  question  how  to 
remedy  this  defect;  and  we  venture  to  say  that  no  one  who  had  not  previously 
seen  and  studied  the  effect  of  such  ornamentation  would  think  of  suggesting 
chains  as  a remedy. 

From  the  display  of  Messrs.  Struthers  & Sons,  of  Philadelphia,  we 
select  for  illustration  a Marble  Baptismal  Font,  which  in  design  and  execution 
is  entirely  the  work  of  their  employees.  It  is,  therefore,  a thoroughly  American 
work,  and  as  such  our  city  may  well  be  proud  of  it;  for  in  simplicity  and 
grace,  in  purity  of  sentiment  and  harmonious  blending  of  ornament  suggestive 
of  use,  it  is  comparable  with  anything  shown  in  the  foreign  courts. 

The  artist  has  chosen  for  his  theme  the  Lily,  the  flower  emblematic  of 
purity  and  innocence,  and  as  such  typifying  the  condition  of  those  little  ones 
who  are  dedicated  to  be  Christ’s  servants  unto  death. 

In  the  treatment  of  his  theme  the  artist  has  shown  almost  as  rare  judgment 
as  in  his  choice.  From  a plain  octagonal  base  rises  a slender,  round  shaft,  on 
which  rests  a circular  basin  with  receding  mouldings  lessening  toward  the  rim. 
Around  the  foot  of  the  shaft  are  strewn  numbers  of  yellow  lilies,  their  round, 
flat  leaves  disposed  on  the  horizontal  plane,  while  here  and  there  among  the 
group  are  sprays  of  the  delicate  garden-lily,  the  blossoms  half  hidden  in  their 
sheltering  sheath-like  leaf.  Rising  above  these,  almost  to  the  rim  of  the  basin, 
is  a sheaf  of  lordly  white  water-lilies,  their  long,  smooth  stems  bound  to  the 
shaft  of  the  column  by  a ribbon-band,  their  broad  leaves  and  graceful  flowers 
encircling  and  completely  hiding  the  lower  portion  of  the  basin. 

The  disposition  of  these  flowers  is  simply  beautiful,  and  one  can  readily 
see  that  nature  was  closely  studied  before  the  arrangement  was  made.  Nothing 
more  highly  realistic  than  this  group  could  be  imagined,  and  the  sculptor  has 
reproduced  it  in  the  marble  with  a marvelous  fidelity. 


INDUSTRIAL  ART. 


103 


We  are  heartily  glad  that  this  font  is  exhibited  at  the  Centennial  Expo- 
sition, for  such  a work  as  this  does  more  to  disprove  the  hackneyed  comment  of 
Europeans  upon  our  civilization — that  we  are  too  materialistic  to  regard  beauty 
of  ornament — than  all  the  protests  of  our  most  honored  writers. 

In  the  matter  of  jewelry,  goldsmiths’  work  and  silver-plate  manufacture, 
our  foreign  visitors  are  unceasing  in  their  expressions  of  praise  of  the  quality 
of  the  work  done,  and  of  astonishment  at  the  richness  and  variety  of  the 
display. 


Necklace  and  Breastpin  : Morgan  &•  Headley,  Philadelphia. 


It  is  indeed  a most  gratifying  fact  that  in  the  manufacture  of  artistic 
jewelry  our  leading  American  houses  compare  favorably  with  foreign  firms.  It 
may  be  argued  that  for  this  species  of  work  we  import  large  numbers  of 
European  workmen,  and  that  our  designs  are  theirs  or  copied  from  French  and 
English  novelties.  And  doubtless  it  is  true  that  hardly  a large  manufacturing 
jewelry  establishment  exists  in  this  country  without  its  quota  of  foreign  assistants 
but  for  all  that  the  work  produced  is  in  a large  sense  American,  and,  at  least, 
an  American  public  which  pronounces  upon  its  claims  to  fashion. 


104 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Moreover,  there  are  certain  set  and  well-defined  styles  which  we  have 
inherited,  or  by  long  use  have  a claim  to,  that  from  their  intrinsic  worth  and 
beauty  always  claim  the  popular  favor.  A jeweler  or  goldsmith  by  following 
these  can  never  go  wrong,  and  even  if  he  has  no  originality  or  invention 
himself,  the  number  of  celebrated  antique  examples  at  his  command  is  quite 
inexhaustible. 

In  the  beautiful  specimen  of  American  goldsmiths’  work  which  we  illus- 
trate on  page  103 — a Necklace  and  Breastpin  manufactured  by  Morgan  & 
Headley,  of  Philadelphia — the  makers  have  combined  a large  amount  of  origin- 
ality with  a careful  study  of  a strictly  classical  design.  The  result  is  a set  of 

ornaments  having  all  the  merits  of  novelty  combined  with  the  best  taste  and 

« 

most  refined  treatment.  The  necklace  is  light,  graceful  and  highly  ornamental 
without  being  garish,  while  the  pin  is  remarkable  for  its  simple  elegance. 

Stoneware,  gres  or  steingut,  as  a certain  kind  of  hard  pottery  made  in 
England,  France  and  Germany  is  called,  according  to  the  nation  making  it,  was 
formerly  manufactured  in  the  latter  country  of  a quality  and  cheapness  that 
caused  it  to  be  largely  exported  to  the  former  kingdoms.  Antique  German 
steingut  of  certain  localities,  such  as  Nuremberg,  Cologne  and  Creussen,  in 
Bavaria,  is  much  sought  after  and  prized  by  the  ceramic  student.  The  famous 
Creussener  stemgut  mugs  bring  fabulous  prices.  Some  of  these  pieces,  which 
are  of  a dark  brown  color,  have  relief  figures  of  the  Apostles  and  Evangelists 
ranged  round  them  in  arcades,  and  hence  are  commonly  called  Apostle 
tankards. 

The  Cologne  steingut  or  grh,  as  it  is  more  commonly  called,  was  at  one 
time  more  generally  known  throughout  Europe  than  any  other  kind  of  stone- 
ware. The  majority  of  the  pieces  were  designed  for  the  homeliest  household 
uses,  but  their  durability  and  the  character  of  their  ornamentation  were  such 
as  to  make  the  demand  for  them  universal.  The  ware  was  mostly  made  in 
moulds,  and  was  produced  in  immense  quantities. 

Of  late  years  the  reproduction  of  this  gnh  has  been  undertaken  at  nearly 
all  the  large  factories  of  Germany,  and  so  successfully  is  it  made  that  in  many 
instances  none  but  an  expert  can  detect  the  difference,  especially  when,  as  is 
too  commonly  the  case,  the  original  marks  are  copied  and  the  stamp^  of  the 
true  maker  is  suppressed. 


INDUSTRIAL  ART. 


105 


We  illustrate  on  this  page  a group  of  three  Antique  German  Vessels, 
manufactured  by  Messrs.  Merkelbach  & Wick,  of  Grenzhausen,  who  make  a 
specialty  of  the  production  of  this  style  of  ware.  The  piece  without  a handle 
is  a very  fine  copy  of  gj'h  de  Cologne.  The  body  is  of  a soft  gray  color,  on 
which  is  the  raised  ornamentation  and  the  blue  enamel  colorine.  The  lower 
part  of  the  piece  has  grooves  or  depressions  radiating  upward  at  regular 
intervals  to  the  central  zone,  which  contains  a coat-of-arms  supported  by 
winged  griffins  and  scroll-work.  Above  this  is  a collar  with  a twisted  incised 


German  Steingut : Merkelbach  &•  Wick.  Grenzhausen. 


pattern,  separating  the  zone  from  the  arabesques  and  garlands  which  cover  the 
upper  part  of  the  bowl.  Around  the  neck  is  a band  of  rosettes  in  low  relief 
picked  out  with  color. 

The  ewer,  the  largest  piece  of  the  three,  is  copied  after  a very  favorite 
style.  The  bowl  is  flattened,  with  medallions  containing  relief  ornamentation 
and  a display  of  arms  and  heraldic  devices  upon  the  sides.  A mask  is  intro- 
duced as  an  ornament  to  the  spout,  but  the  handle  is  made  very  plain  and  as 
unobtrusive  as  possible. 

The  third  piece  partakes  in  its  decoration  of  a more  oriental  style.  Its 
shape,  too,  is  Eastern  and  might  have  been  copied  from  a Moorish  vase.  The 


io6  THE  INTERNATIONAL  EXHIBITION,  1876. 


Iron  Fountain  : The  y.  L.  Mott  Co.,  New  York. 


decoration  consists  of  brilliant  arabesques  dispersed  over  the  surface  in  a pleasing 


and  effective  manner. 


On  this  page  we  present  our  readers  with  an  illustration  of  the  handsome 


INDUSTRIAL  ART. 


107 


Fountain  manufactured  by  the  J.  L.  Mott  Co.,  of  New  York,  that  graces  the 
northern  portion  of  the  nave  of  the  Main  Exhibition  Building.  This  fine 
example  of  artistic  casting  is  erected  just  as  it  is  seen  in  the  engraving  at 
one  of  the  divisions  of  the  nave,  and  is  kept  playing  water  all  day  long. 

Indeed,  the  only  way  to  judge  of  the  beauty  of  a fountain  is  to  see  it  in 
operation,  for  the  fall  and  curves  of  the  water  form  a component  part  of  the 


Bronze  Inkstand:  Henri  Per  rot,  Paris. 


general  effect.  And  this  fact  should  always  be  taken  into  consideration  by  the 
designer,  although  evidently  it  is  too  often  neglected.  How  often  we  see 
fountains  that  in  themselves  are  beautiful,  but  when  seen  in  operation  the 
apertures  from  which  the  water  is  ejected  and  the  curves  made  in  its  fall 
render  the  whole  thing  ridiculous  or  monstrous. 

Nothing  is  more  beautiful  than  falling  water,  whether  it  is  in  sheets  or  in 
broken  streamlets  or  dispersed  in  spray;  and  in  the  present  instance  we  may 
be  said  to  have  these  three  phases  combined. 


io8 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


The  fountain  rises  from  its  basin  in  a series  of  four  basins,  each  smaller 
than  the  other,  and  is  surmounted  by  a small  vase-shaped  pinnacle,  from  the 
orifice  of  which  a slender  column  of  water  shoots  upward  to  fall  again  in 
spray.  From  over  the  smooth  lips  of  the  upper  basins  other  water  falls  in 
sheets  into  the  third  compartment,  which  has  scolloped  edges ; from  the 
depressions  here  it  falls  in  streams  into  the  fourth  receptacle,  from  which  it 
flows  in  one  broad  transparent  sheet.  The  effect  of  all  these  changes  is 
exceedingly  pretty,  and  yet  no  one  of  them  is  of  a nature  to  hide  the  beauty 
of  the  design. 

o 

The  Bronze  Inkstand,  with  its  accompanying  set  of  writing  appliances,  • 


Tiible  Glassware : Lobmeyr  Co.,  Vienna. 


manufactured  by  M.  Henri  Perrot,  of  Paris,  which  forms  the  subject  of  our 
illustration  on  page  107,  is  an  excellent  example  of  the  fondness  for  rich  orna- 
mentation which  is  characteristic  of  the  French.  The  pieces  are  really  sumptuous 
in  design  and  workmanship,  and  simply  as  ornaments  to  a secretary  they  would 
command  attention  anywhere.  If  the  philosopher’s  theory,  that  our  thoughts 
take  color  from  our  surroundings,  is  true,  the  fortunate  possessor  of  such 
writing  appliances  as  these  should  have  flights  of  fancy  such  as  the  Arabian 
romancers  might  envy. 

The  Glassware  of  Lobmeyr,  of  Vienna,  which  we  illustrate  on  this  page, 
is  both  useful  and  ornamental.  One  of  the  pieces  is  a crater  vase  with  handles, 
and  is  probably  intended  merely  for  ornament.  But  all  the  other  pieces  are 


INDUSTRI AL  ART. 


109 


suitable  for  table  furniture,  either  as  card-receivers  or  as  receptacles  for  dainty 
and  choice  confections  at  dessert.  And  in  this  connection  we  may  say  that  we 
trust  the  time  is  rapidly  approaching  when  people  generally  will  open  their 
eyes  to  the  fact  that  it  is  within  the  power  of  every  one  to  make  the  dinner- 
table  something  more  than  a board  from  which  to  feed, — to  beautify  it  so  that 
it  may  be  aesthetically  attractive. 

d'he  sooner  the  absurd  custom  of  putting  down  upon  the  table  only 
certain  dishes  of  a conventional  shape  containing  certain  meats,  and  removing 


Enameled  Casket : Emile  Philippe,  Paris. 


them  as  soon  as  they  have  done  their  purpose — the  sooner  this  absurd  custom 
is  done  away  with  the  better. 

There  is  not  a household  so  poor  that  has  not  some  ornamental  dish  or 
vase  in  china  or  glass  that  would  answer  a far  higher  and  better  purpose  if 
used  to  grace  the  board  at  meals  than  if  left  upon  a mantel-shelf  or  behind  a 
glass  simply  to  be  looked  at. 

Our  good  grandmothers  and,  in  some  instances,  our  mothers  washed  the 
cups  and  saucers  themselves  after  the  evening  meal,  and  the  guests  sat  by  and 
chatted  while  the  sweet  housewifely  action  was  going  on.  But  now,  because 
servants  are  careless,  we  are  told  that  we  must  be  content  to  look  at  the  odd 
and  pretty  bits  of  china  that  we  may  possess  as  curiosities  too  precious  to  be 


I lO 


THE  INTERNATIONAL  EXHIBITION,  1876. 


used,  and  take  our  meals  off  sets  any  piece  of  which  can  be  replaced  if  by 
chance  it  gets  broken. 

All  this  should  be  changed.  With  a little  care  and  trouble  the  dinner- 
table  could  be  made  artistically  beautiful.  For  example,  with  one  of  these 
beautiful  dishes  of  Lobmeyr’s  made  to  answer  some  trifling  purpose  at  dessert, 
a refining  and  artistic  tone  would  be  given  to  all  that  portion  of  the  meal. 

Not  satisfied  with  their  country  being  the  centre  for  the  production  of 
artistic  jewelry  and  personal  ornaments  of  all  kinds,  the  French  artisans  exert 
themselves  to  produce  elaborate  repositories  for  the  precious  productions  of 
their  skill.  Such  a Jewel  Case  as  the  one  which  we  illustrate  on  page  109, 
manufactured  by  M.  Emile  Philippe,  of  Paris,  is  a treasure  in  itself.  It  is 
one  glittering,  brilliant  mass  of  enamels  on  metal.  The  skill  with  which  the 
intricate  pattern  has  been  wrought  and  the  strength  with  which  the  bits  of 
bright  color  have  been  contrasted  are  very  remarkable.  The  mere  technical 
skill  and  patient  labor  required  in  the  production  of  such  a work  as  this  is 
very  great,  and  to  produce  the  finished  work  without  a flaw  can  only  be 
accomplished  by  long  familiarity  and  practice  in  the  processes  required.  By 
looking  carefully  at  our  engraving,  some  idea  of  the  minuteness  and  delicacy 
of  this  work  can  be  obtained.  Each  shade  represents  a different  enamel  color, 
and  it  will  be  seen  that  the  central  panels  contain  intricate  foliated  patterns. 
Around  each  of  these  panels  is  a narrow  edging  or  frame  of  small  squares  of 
vitreous  paste  of  different  colors ; then  comes  a border  of  scroll-work  and 
medallions  within  another  edging  similar  to  the  first.  The  whole  affair  is  not 
more  than  seven  inches  long  by  five  inches  wide  and  height,  and  may  be  called 
a bijou  to  contain  bijoux. 

England  may  well  be  proud  of  the  exhibition  made  by  her  colonies  at 
our  Centennial  Fair.  India,  Australia,  New  Zealand,  Ceylon,  British  Guiana, 
and  the  far-away  settlements  on  the  Gold  Coast,  the  Bahamas,  the  Bermudas 
and  Trinidad,  Queensland  and  the  Canadas,  each  and  all  have  come  to  us, 
their  elder  sister,  proud  to  show  us  and  each  other  the  evidence  of  their  young, 
vigorous  life.  Yet  some  of  these  colonies  have  already  reached  a maturity 
when  they  begin  to  look  forward  to  being  their  own  masters ; and  it  is  likely, 
before  many  more  years  have  passed,  that  the  mother-country  will  assist  them 
to  set  up  governments  for  themselves.  England  is  now  a wiser  mother  than 


INDUSTRIAL  ART. 


1 1 1 


Wrought  Iron  Gate  : H.  R.  Ives  &•  Co.,  Montreal. 


when  she  angered  us  to  break  the  leading-strings.  She  realizes  that  her  other 
children,  now  growing  up  around  her,  will  some  day  want  to  be  powers  unto 


I 12 


THE  INTERNATIONAL  EXHIBITION,  1876. 


themselves ; and  instead  of  discouraging,  she  encourages  them  in  the  idea. 
Such  a policy  gives  the  colonies  a healthier,  manlier  growth.  When  they 
achieve  independence  they  will  have  nothing  but  affection  for  the  mother  who 
nurtured  them,  and  they  will  stand  strong  and  ever  ready  to  resent  any  insult 
that  may  be  offered  to  her. 


It  is  positively 
to  con- 
template the  prog- 
ress which  these 
colonies  have  made 
in  the  last  few 
years.  In  the  Ca- 
nadian Court  we 
see  the  largest  evi- 
dence of  this,  be- 
cause from  her 
neighborhood  she 
could  make  the 
most  general  dis- 
play. There  is  in 
this  section  an  evi- 
dence of  refine- 
ment and  art-cul- 
ture as  well  as  of 
solid  progress  that 
shows  a wonderful 
maturity  of  civiliza- 
tion. Look  where 


Candelabra  : Sutse  fr'cres,  Paris. 


we  will,  among  the 
ceramics,  the  tex- 
tiles, the  metal- 
work, we  see  this. 

In  metal-work 
there  is  especial 
excellence.  Take, 
for  example,  the 
subject  of  Illustra- 
tion on  page  1 1 1 . 
It  is  a Wrought 
Iron  Gate,  manu- 
factured by  Messrs. 
H.  R.  Ives  & Co., 
of  Montreal.  We 
know  of  no  more 
thoroughly  artistic 
example  of  this 
kind  in  the  whole 
Exhibition,  and  this 
is  saying  a great 
deal,  for  England 
contains  some 


splendid  pieces. 

Notice  with  what  rare  skill  solidity  has  been  combined  with  lightness. 
Each  gate  is  thoroughly  braced  by  the  standards  and  the  cross-pieces  containing 
the  panels.  This  first  and  chief  point  accomplished,  the  artist  can  exercise  his 
fancy  upon  the  decoration.  He  has  chosen  a vine  as  his  theme,  and  has 
woven  it  between  the  uprights  in  a graceful  and  symmetrically  conventionalized 


INDUSTRIAL  ART. 


113 


way.  With  the  same  motive  he  has  ornamented  the  arches  formed  by  the 
curved  braces  with  a whorl  of  leaves,  tendrils  and  blossoms,  and  again  the 
foliation  appears  in  the  finials  to  the  uprights  and  standards.  We  bespeak  for 
this  piece  of  work  a degree  of  attention  on  the  part  of  our  readers,  not  only 
because  of  the  neighborhood  from  which  it  comes,  but  because  of  its  own 

sign  for  this 
clock  has  been 


intrinsic  excel- 
ence. 

The  Clock, 
made  by  Susse 
FRERES,  of  Paris, 
which  we  en- 
grave on  this 
page,  stands 
some  thirty 
inches  in  height 
and  is  profuse- 
ly ornamented. 
The  front  and 
all  the  casing 
are  of  brass,  the 
body  is  of  ebony, 
and  the  figures 
of  the  dial  are 
painted  on  round 
porcelain  medal- 
lions. 

The  style  in 
which  the  de- 


Clock  : Susse  freres,  Paris. 


conceived  seems 
to  be  that  of 
Louis  Quar- 
torse,  when 
French  art  fairly 
reveled  in  elab- 
orateness of  or- 
namentation. 
We  see  this  lux- 
urious feeling  in 
the  rich,  sweep- 
ing curves  of 
the  base,  in  the 
heraldic-like 
decoration  be- 
low the  dial,  and 
in  the  shape  and 
garlanding  of 
the  urn  sur- 
mounting the 
upper  portion 


of  the  piece.  We  see  it,  too,  in  the  winged  heads  displayed  on  the  front  in 
relief  as  medallions,  or  in  the  round  scrolls  as  ornaments  to  the  corners;  and 
it  is  also  visible  in  the  flaming  vases  on  the  top.  All  of  this  work  is  executed 
with  the  finish  and  skill  of  which  French  workmen  are  such  masters,  and  the 
result  is  an  elaborate  and  in  a double  sense  a striking  clock. 

Another  work  exhibited  by  the  same  firm  is  the  Brass  Candelabra*  which 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


1 14 


forms  the  subject  of  our  next  illustration.  This  is  conceived  in  a different 
spirit  and  has  more  of  a classical  feeling.  From  a square  base,  but  little 
ornamented,  rise  four  banded  pillars,  on  which  rests  an  entablature  supporting 
an  urn  with  six  branches,  to  each  one  of  which  is  affixed  a candle-socket.  In 
the  centre,  upheld  by  curved  tendrils,  is  a seventh  socket-cup,  shaped  like  the 
others.  All  of  this  upper  part  of  the  candelabra  is  very  ornate  indeed,  and 
in  striking  contrast  with  the  lower  portion.  Here  the  central  figure  is  an 
Amazonian  warrior,  clad  in  full  armor,  with  one  hand  resting  upon  the  shield 
by  her  side,  and  the  other  raised  in  an  attitude  of  warning.  The  pose  and 
general  modelling  of  this  figure  are  very  fine  and  spirited,  and  the  artist  has 
done  well  in  so  subduing  the  accessories  as  to  give  it  all  the  prominence 
possible. 

The  late  Franco-Prussian  war  has  had  a curious  effect  upon  industrial  art 
in  Germany.  The  empire  had  not  ended  its  rejoicings  over  the  triumph  of 
German  arms  when  the  French  milliards  were  scattered  broadcast  over  the 
country  and  a period  of  unexampled  prosperity  ensued.  The  masses  of  the 
people  earned  wages  that  allowed  them  to  purchase  freely  articles  that  had 
previously  been  beyond  their  means.  A luxurious  manner  of  living  became 
common,  and  in  a measure  unfitted  every  one  for  the  period  of  commercial 
depression  that  afterwards  swept  like  a wave  over  all  Europe.  It  is  plain  that 
all  classes  of  individuals  easily  and  quickly  adopt  the  more  expensive  habits 
of  living  made  possible  by  an  increase  in  income,  and  that  they  are  slow  to 
retrench  when  the  necessity  comes.  Yet  a very  remarkable  fact  not  generally 
realized,  although  it  is  the  result  of  the  same  sentiment  in  a community,  is  the 
converse  of  this  proposition.  For  example,  in  our  own  country  during  the 
war,  the  price  of  flour  rose  so  rapidly  that  persons  who  had  small  incomes  did 
not  attempt  to  buy  the  higher  qualities,  but  contented  themselves  with  good 
medium-  grades ; yet  when  the  price  of  flour  began  steadily  to  decline,  the 
same  buyers  continued  paying  their  maximum  price,  until  to-day  nine-tenths  of 
the  housekeepers  in  the  land  are  using  grades  of  flour  which  they  could  not 
have  bought  during  the  war,  and  that  quality  which  they  used  then  will  no 
longer  content  them.  The  same  feelinof  is  illustrated  in  rents.  When  rents 
were  high,  people  contented  themselves  with  cheap  lodgings ; but  as  soon  as 
rents  began  to  fall,  they  moved  to  as  fashionable  quarters  as  the  same  amount 


INDUSTRIAL  ART. 


II5 


of  rental  would  procure.  Then  we  hear  the  cry  that  the  cost  of  living  is  still 
as  great  as  it  ever  was,  when  the  truth  is  that  the  cost  of  living  has  decreased, 
but  the  manner  of  living  has  proportionally  increased,  and  the  fault  lies  with 
the  housekeepers  themselves. 

Now,  this  is  just  what  has  happened  in  Germany.  Certain  articles  before 


Silver  Casket,  Erhard  6^  Sons,  Gennativ- 


unknown  to  cer- 
tain classes  were 
bought  with  ea- 
gerness when 
money  was 
plenty,  and  when 
thalers  became 
scarce  the  de- 
mand, though  in 
a lesser  degree, 
continued.  The 
result  is  readily 


Top  of  Erhard  dr=  Sons'  Casket. 


a n ti  c i pa  ted — 
manufacturers 
everywhere  set 
themselves  to 
work  to  manu- 
facture cheaper 
lines  of  the  same 
goods.  The  first 
consideration 
was  that  things 
should  be  cheap, 
and  the  second 


was  that  it  should  be  showy,  in  order  to  cater  to  a vulgar  and  uneducated 
taste.  Work  executed  under  such  influences  cannot  fail  being  meretricious  and 
bad,  and  hence  it  is  that  the  German  display  in  our  Centennial  is  so  univer- 
sally condemned,  especially  by  Germans,  as  evidencing  a standing  still  or  even 
a retrograde  movement.  As  to  the  display  of  Bismarcks,  Von  Moltkes,  Crown 
Princes,  etc.,  we  are  not  disposed  to  judge  of  them  as  severely  as  the  German 


THE  INTERNATIONAL  EXHIBITION,  1876. 


1 16 


commissioner  does.  That  they  are  in  bad  taste  at  an  international  exhibition  of 
this  character  is  undoubted,  but  they  are  nothing  more  nor  less  than  the  natural 
forms  of  expression  which  all  countries  have  adopted  after  achieving  like  con- 
quests. These  men  are  the  heroes  of  the  hour  among  the  Germans,  and  the 
people  at  least  do  not  tire  of  the  manifold  ways  in  which  their  heroes’  likenesses 
are  presented  to  them. 

Of  course  the  remarks  that  we  have  made  above  apply  to  the  German 
exhibit  as  a whole.  There  are  many  and  notable  exceptions  to  the  rule  in  all 
the  various  sections.  In  the  stalls  devoted  to  the  display  of  goldsmiths’  work, 
jewelry  and  plated  ware  are  some  of  the  most  beautiful  things  to  be  found  in 
the  whole  Exhibition.  One  of  these  we  illustrate  on  page  1 1 5.  It  is  a Silver 
Casket,  manufactured  by  Erhard  & Sons,  of  Germany.  This  casket  is  about 
nine  inches  long,  six  inches  wide  and  six  inches  high.  It  is  ornamented  with 
scroll  designs  in  repousse-woxV  upon  the  front  and  back,  and  the  two  side  panels 
contain  portrait-medallions  between  branches  of  laurel  done  in  the  same  manner. 
The  angles  at  the  junction  of  the  sides  are  concealed  by  curved  projections 
terminating  in  scrolls  at  the  feet. 

The  lid  or  cover  to  the  article  is  somewhat  more  elaborately  ornamented 
by  the  same  repousse  process.  On  the  four  sloping  sides  are  baskets  of  a 
classical  shape  containing  fruit  and  flowers.  On  either  side  of  these  are  sprays 
of  leaves  woven  together  in  a simple,  graceful  pattern.  In  the  upper  panel  is 
a square,  raised  frame,  within  which  is  an  oval  containing  a group  of  a cupid 
and  a nymph,  the  latter  playing  upon  a flute.  Beside  the  cupid  is  a harp,  and 
in  the  distance  are  sheep  and  a pastoral  landscape.  The  artist  has  taken  rare 
pains  with  this  part  of  his  work,  and  has  produced  a very  effective  and  pleasing 
bas-relief.  As  no  gilding  or  enameling  is  used  in  decorating  this  casket,  the  claim 
for  attention  which  it  has  is  solely  its  artistic  workmanship  in  this  particular 
branch  of  the  silversmiths’  trade.  As  repousse-'worVi  is  now  so  fashionable  that 
nearly  all  the  large  manufacturers  of  plate  in  Europe  and  this  country  are 
producing  it,  our  readers  will  be  interested  in  contrasting  the  work  of  the 
various  nations  which  we  illustrate.  In  this  way  those  who  are  directly 
interested  in  the  process  will  gain  valuable  ideas,  and  those  who  simply  take 
an  interest  in  industrial  art  products  generally,  will  be  able  to  form  an  intel- 
ligent idea  of  whatever  characteristics  are  distinctly  national. 


INDUSTRIAL  ART. 


The  Pair  of  Vases  illustrated  on  this  page  are  the  chefs  d'ceuvre  of  the 
rich  display  of  artistic  pottery  and  porcelain  made  by  the  Messrs.  Daniell  & 
Sons,  of  London.  Their  stall,  which  faces  on  the  central  transept  close  to  the 
nave  of  the  Main  Building,  contains  one  of  the  most  interesting  and  varied 
collections  of  the  choicest  productions  of  noted  English  potters  anywhere  to  be 
seen;  yet  even  here  among  the  numerous  triumphs  of  ceramic  art,  these  vases 


Vases : Daniell  &>  Sons,  London.  From  the  collection  of  Sir  Richard  Wallace. 

are  quite  incomparably  the  most  beautiful  and  precious.  We  shall  endeavor 
to  give  the  reader  an  idea  of  the  appearance  of  these  remarkable  works  of 
art,  as  far  as  words  can  do  it ; but  we  urge  all  who  would  have  a realizing 
sense  of  their  beauty  to  take  an  opportunity  of  viewing  for  themselves. 

The  vases  are  of  porcelain,  standing  about  two  feet  high,  and  are  deco- 
rated around  the  zone  with  figures  painted  or  modelled  in  pdte-sur-pate. 
We  shall  have  something  to  say  of  this  process  after  having  finished  the 


ii8  THE  INTERNATIONAL  EXHIBITION,  1876. 


description  of  the  pieces.  The  number  of  colors  and  shades  used  in  the 
decoration  is  numerous,  but  the  principal  body-color  on  which  the  figures  are 
painted  is  a dark  olive-green.  Gold  has  been  introduced  in  places  to  heighten 
the  general  effect. 

Below  the  curved  lip  of  each  vase,  which  is  gilded,  is  a space  extending 
to  the  gold  band  at  the  junction  of  the  handles  with  the  neck,  enameled  with 
a deep  bhie  de  roi  with  gilt  stripes.  At  the  narrowest  part  of  the  neck  is  a 
raised  gold  band,  above  which  are  gold  arabesques.  From  here  down  to  the 
curved  collar,  which  is  composed  of  gilt  and  red,  the  neck  is  of  a- delicate 
celadon  color  with  radiating  stripes  of  white. 

Below  the  zone  on  which  the  figures  are  painted  is  a white  band,  beneath 
which  delicate  gilt  scrolls  are  disposed  upon  a light  green  ground  which 
extends  to  the  base,  which  is  gilt.  The  central  zone  is  a deep  olive-green  of 
peculiar  richness,  and  on  this  the  figures  of  Cupids  and  the  Graces  as  seen 
in  the  illustration  are  painted  in  pdte-sur-pdte. 

In  order  that  the  reader  may  understand  what  this  process  is,  we  cannot 
do  better  than  make  an  extract  from  M.  Arnoux’s  account  of  the  process  as 
practised  at  Sevres,  as  quoted  by  Mr.  Blake  in  his  Report: 

“The  name  pdte-siir-pdte  explains  sufficiently  the  process,  which  consists  in 
staining  the  body  of  the  hard  porcelain  in  celadon,  or  other  color,  by  the 
addition  of  a colored  mixture,  of  which  oxide  of  chrome  is  generally  the  chief 
ingredient:  and  then,  when  the  piece  is  still  in  the  clay  state,  to  paint  or 
rather  model  upon  it  with  a brush,  using  white  porcelain  body  as  the  pigment, 
and  taking  advantage  of  the  transparency  it  will  acquire  when  fired  to  produce 
an  effect  similar  to  that  obtained  in  the  Limoges  enamels,  by  working  the 
semi-transparent  enamel  on  a black  ground.  Consequently  the  artist  will 
increase  the  thickness  of  the  white  clay  for  the  high  lights,  and  decrease  it 
where  the  color  of  the  ground  is  to  be  seen  through.  Much  experience  is 
required  to  calculate  the  effect,  the  white  clay  before  firing  being  equally  opaque 
in  the  thin  as  in  the  thick  parts.  Of  course  any  mistake  is  irremediable,  as  it 
can  only  be  seen  after  the  piece  is  fired.  It  was  from  studying  the  Chinese 
celadon  that  Mr.  Ebelman'^  started  this  kind  of  porcelain.  The  colors  used 
on  account  of  the  high  degree  of  temperature  are  extremely  limited.” 


*A  director  of  the  Sevres  works  and  the  discoverer  in  Europe  of  the  pate-sur-pate  process. 


INDUSTRIAL  ART. 


119 


The  reader  is  now  enabled  to  see  from  this  description  how  difficult  the 
process  must  be  and  what  wonderful  skill  the  artist  possesses  who  can  model 
such  graceful,  life-like  figures  as  are  here  portrayed.  A peculiar  and  beautiful 
feature  in  the  finished  work  is  the  effect  of  high  relief  (when  in  reality  it  is 
very  slight)  produced  by  the  semi-transparent  porcelain  body. 

In  the  Paris  Exposition  of  1867,  examples  of  this  work  were  publicly  exhibited 
by  Sevres  for  the  first  time,  but  the  process  of  manufacture  was  kept  a secret. 
English  workmen,  however,  who  visited  the  Exposition  examined  the  pieces 
critically,  and  on  their  return  home  published  what  appeared  to  them  and  what 
proved  to  be  the  true  method  of  producing  them.  Yet  it  was  not  until  the 
Franco-Prussian  war,  when  many  French  artisans  took  refuge  in  England,  that 
the  latter  country  began  to  manufacture  pdte-sur-pdte.  At  that  time,  among  the 
refugees  from  France  was  M.  Solon,  of  Sevres,  the  most  distinguished  worker 
in  the  new  process  in  all  Europe.  Immediately  on  his  arrival  his  services  were 
engaged  by  the  famous  firm  of  Mintons,  and  it  was  not  long  before  their 
factory  produced  work  equal  to  any  ever  done  at  Sevres.  These  vases  which 
we  have  been  discussing  are  the  work  of  M.  Solon,  and  were  executed  at  the 
Mintons  factory.  The  Messrs.  Daniells  are  the  London  agents  for  this  firm, 
and  these  pieces  were  executed  to  their  order.  The  reader  may  be  curious  to 
know  what  such  superb  examples  of  ceramic  art  are  worth,  and  he  may  get 
some  idea  from  the  fact  that  this  pair  have  been  purchased  by  Sir  Richard 
Wallace  for  six  hundred  guineas. 

The  superb  Pla.no  which  we  illustrate  on  page  120  was  manufactured  by 
Messrs.  Hallet,  Davis  & Co.,  of  Boston,  and  is  undoubtedly  the  most  elabo- 
rately constructed  instrument  of  its  kind  at  the  Exhibition.  The  case  is  made 
of  ebony  with  an  occasional  inlaying  of  narrow  strips  of  precious  wood  to 
give  effect  to  the  ornamentation.  The  reader  will  see  from  our  engraving  how 
remarkable  this  ornamentation  is.  All  of  it  is  hand-work,  the  production  of 
skillful  carvers.  Much  of  it  is  in  very  high  relief;  other  portions,  such  as  the 
birds  and  urn  on  the  upper  portion  and  the  wreaths  at  the  base,  are  worked  out 
in  full;  while  the  panels,  with  their  wreaths,  scrolls,  medallions,  and  symbolic 
figures,  are  elaborated  with  great  fidelity  of  detail. 

It  is  one  of  the  anomalies  of  art  that  the  piano,  which  contains  the  soul 
of  harmony,  is  generally  the  least  harmonious  and  ungraceful-appearing  object 


120 


THE  INTERNATIONAL  EXHIBITION,  1876. 


P/I9Jiyi!  n 7*"  I 


jkijiiiuiiii'nr 





Piano,  Ebony  Case  : Hallet,  Davis  Co.,  Boston. 


of  the  modern  drawing-room.  It  is  usually  bow-legged  and  veneered,  badly 
shaped  and  worse  decorated.  The  old  fashioned  spinet  was  decidedly  superior 


Inferior  Decoration  Carrington,  de  7.onche  dr  Co, 


F.  Fans,  Engr. 


122 


THE  INTERNATIONAL  EXHIBITION,  i8y6. 


as  far  as  looks  go,  to  the  modern  “grand.”  England  in  her  new  Renaissance 
makes  Greek  and  Elizabethan  drawing-rooms  with  furniture  to  match,  but  she 
has  not  evolved  an  Eastlake  piano,  yet.  We  are  glad,  therefore,  to  claim  for 
an  American  the  honor  of  having  made  a Piano  that  is  harmonious  both  within 
and  without. 

This  piano  placed  in  a music-room  would  form,  as  its  use  requires  it 
should,  the  central  and  prominent  ornament  of  the  apartment.  Then  the 
general  design  and  ornamentation  are  of  such  a character  that  they  can  be 
repeated,  with  proper  modifications,  in  all  the  other  articles  of  furniture  in 
such  a way  that  each  may  accord  with  the  others  and  the  tout  ense7nble  be 
perfect. 

An  interesting  feature  of  the  Exhibition  is  the  method  which  the  uphol- 
sterers, decorators  and  furniture-dealers  have  chosen  by  which  to  display  their 
goods  to  the  best  advantage.  This  method  consists  in  dividing  the  sections 
allotted  to  them  into  rooms,  which  are  afterwards  fitted  up  as  parlor,  library, 
boudoir,  dining-room,  or  any  special  apartment.  Some  of  these  “interiors”  are 
perfectly  lovely,  others  are  regal  in  their  magnificence,  and  others  again  are 
furnished  with  the  severe  simplicity  which  affects  a return  to  those  times  when 
the  luxurious  appliances  of  modern  times  were  unknown. 

Perhaps  in  no  other  department  of  the  Centennial  is  it  possible  to  obtain 
a better  idea  of  that  indefinable  influence  which  we  call  taste  than  by  observing 
the  sections  devoted  by  the  group  of  nations,  England,  France  and  the  United 
States,  to  the  subject  of  furnishing.  Here  we  get  glimpses  of  the  surround- 
ings of  the  classes  who  set  the  fashions,  such  as  could  be  had  in  no  other 
way.  We  look  into  the  most  private  apartments,  the  boudoirs  and  bed-chambers, 
which  are  so  artfully  arranged  as  to  suggest  occupancy.  Bric-a-brac  and  knick- 
knacks  are  disposed  about  in  studied  carelessness  so  as  to  make  the  effect  as 
natural  as  possible. 

No  more  common  error  is  made  in  these  times  than  the  habit  of  blaming 
the  paper-hanger,  the  upholsterer  and  furniture-maker,  each  and  all,  for  the 
ill  effect  of  a room  which  we  have  “furnished”  ourselves.  One  often  sees 
paper,  hangings  and  furniture,  which  in  themselves  are  beautiful,  so  badly 
grouped  by  the  ill  taste  of  the  owner  as  to  make  each  appear  ugly.  There 
is  no  opportunity  for  fair  judgment  of  the  merit  of  a dealer’s  taste  and  skill 


INDUSTRIAL  ART. 


123 


unless  everything  is  grouped  according  to  his  judgment;  and  no  one  can  study 
the  elegant  and  rich  effects  produced  in  the  sections  we  are  discussing  without 


Necklace  and  Ear-rings : Egyptian  Government. 


Egyptian  Brooches : Emile  Philippe. 


being  convinced  that  the  covert  sneer  in  the  phrase  “the  room  is  upholstered 
and  not  furnished”  is  but  an  attempt  to  put  the  blame  where  it  does  not  belong. 


124 


THE  INTERNATIONAL  EXHIBITION,  1876. 


In  our  engraving  we  illustrate  a Boudoir  fitted  up  by  Messrs.  Carrington, 
De  Zouche  & Co.,  of  Philadelphia,  which  is  the  very  abode  of  luxury.  Any 
man  looking  into  such  a nest  will  feel  himself  a privileged  person  and  will 
probably  look  anxiously  around  for  the  legitimate  occupant.  The  ceiling  and 
sides  of  this  apartment  are  panelled  with  tufted  cretonne  of  rich,  warm  colors, 
relieved  by  a stile  of  drab-colored  damask  with  mouldings  of  ebony  and  gilt. 
The  pattern  of  the  cretonne  is  a running  vine  with  flowers  trained  over  a 
trellis,  and  is  exceedingly  graceful  and  pretty.  The  upholstering  of  the  chairs, 
pillow  lounge  and  ottoman  is  in  a cretonne  matching  the  panels,  and  the  same 
material  is  used  around -the  large  mirror  at  the  end  of  the  apartment  and  on 
the  shelf  at  its  foot.  Puffing  and  box-plaits  are  used  to  make  curved  and 
broken  lines  and  to  give  additional  effectiveness  to  the  arrangement.  The 
room  in  its  suggestions  of  repose,  comfort  and  refinement  is  the  beau-ideal  of 
a boudoir. 

The  Jewelry  exhibited  by  the  Government  in  the  Egyptian  Court  is  inter- 
esting both  for  its  technical  excellence  and  for  its  quaint  and  artistic  adaptation 
of  forms  used  by  the  early  workers  in  the  precious  metals.  Of  Egyptian  per- 
sonal ornaments  of  the  old  time  but  very  few  specimens  have  been  preserved 
to  us,  yet  there  is  abundant  evidence  of  the  high  antiquity  of  gold  and  silver 
ornamental  work.  In  the  twenty-fourth  chapter  of  Genesis  we  read  of  golden 
ear-rings  and  bracelets,  and  constant  reference  is  made  throughout  the  Bible  to 
articles  of  a like  description.  In  the  Exhibition  of  1862,  a splendid  set  of  gold 

ornaments,  found  at  Thebes  in  the  tomb  of  a queen  who  reigned  fifteen 

hundred  years  before  the  Christian  era,  was  shown,  but  this  set  is  a unique 
example  of  that  time.  In  the  Necklace  and  Ear-rings  which  we  illustrate  on 
page  123,  small  gold  coins  form  a principal  feature  of  the  design.  They  are 
suspended,  singly  and  in  groups,  from  figures  of  fine  gold  filagree  work  of 
elaborate  oriental  pattern. 

The  Brooches  which  illustrate  the  same  page  are  made  by  Emile  Philippe, 
of  Paris,  and  though  they  are  equally  Egyptian  in  style,  we  have  in  them  a class 
of  work  of  a very  much  more  modern  character.  Here  the  precious  metal,  gold, 
takes  a secondary  place,  being  used  simply  as  a setting  for  more  precious 
stones,  and  a fictitious  value  is  given  to  the  metal  by  the  use  of  enamels. 

The  first  brooch  consists  of  a crystal  scarab,  or  sacred  beetle,  the  spots  on  the 


INDUSTRIAL  ART. 


125 


body  being  marked  with  colored  stones,  inlaid.  On  either  side  are  kneeling 
figures  of  a type  purely  Egyptian,  human  in  all  but  the  face,  which  is  that  of 
a bird.  These  figures  are  of  silver,  enamelled  in  red  and  green,  and  deco- 


Pompeian  Toilette — Plaque:  Messrs.  Elkiugton  dr  Co.,  Birmingham 


rated  with  gold.  These  are  supported  on  the  outstretched  wings  of  a bird,  the 
plumage  of  which  is  also  brilliantly  enamelled. 

The  second  brooch  is  even  richer  in  color  than  the  former,  and  is  a 


126 


THE  INTERNATIONAL  EXHIBITION,  1876. 


remarkable  piece  of  design.  It  contains  numerous  symbolical  figures,  such  as 
the  crouching  sphynx,  the  winged  beetle,  the  female  head  with  the  duck 
emerging  from  the  forehead,  the  sphere,  and  the  sacred  flower,  the  lotus. 
Emeralds  and  other  precious  stones  are  introduced  into  the  design. 

The  only  examples  of  silverware  manufacture  in  England,  shown  in  the 
British  section,  are  to  be  seen  in  the  Court  of  the  Messrs.  Elkington  & Co., 
and  if  we  could  regard  their  display  as  representative  of  the  craft  to  which 
they  belong,  other  nations  would  be  put  far  in  the  back-ground.  But  the 
Messrs.  Elkington  in  the  vastness  of  their  business,  in  the  number  and  talent 
of  the  artisans  whom  they  employ,  occupy  a position  so  far  above  the  other 
firms  engaged  in  the  same  manufacture,  that  their  display  is  not  representative 
of  English  silversmith  work  ; it  simply  illustrates  the  excellence  of  their  own 
productions,  and  in  this  respect  it  is  representative  of  the  highest  achievements 
of  the  art  in  this  century. 

In  one  respect  their  exhibit  differs  from  the  others  of  the  same  class  made 
by  manufacturers  of  other  nations.  It  is  uniquely  an  art  display.  They  have 
not  attempted  to  send  examples  of  their  manufacture  in  sterling  silver  and 
electro,  for  in  this  respect  their  work  is  of  a character  to  defy  competition, 
and  their  reputation  is  already  world-wide.  Hence  they  have  excluded  from 
their  Court  all  articles  which  do  not  possess,  in  the  strictest  sense  of  the  term, 
high  artistic  merit,  both  as  regards  design  and  execution ; and  for  this  reason 
their  Court  forms  one  of  the  greatest  attractions  in  the  Main  Building.  No 
one  should  fail  to  visit  it. 

As  it  is  our  purpose  to  illustrate,  from  time  to  time,  a number  of  the 
most  noteworthy  of  the  articles  in  this  superb  collection,  a brief  account  of  the 
exhibit  as  a whole,  and  a word  respecting  the  firm  itself,  will  be  interesting 
and  appropriate  in  this  place. 

Although  the  Messrs.  Elkington  & Co.  have  branch  establishments  at 
London,  Liverpool  and  Manchester,  their  manufactory  is  at  Birmingham,  where 
they  employ  some  two  thousand  workmen.  In  those  figures  we  have  the  data  for 
an  estimate  of  the  vastness  of  their  business.  This  business  owes  its  begin- 
ning to  the  patient  perseverance  of  one  man,  who  devoted  all  his  energies  to 
the  accomplishment  of  one  end — the  application  of  electro -metallurgy  to 
industry. 


INDUSTRIAL  ART. 


127 


Forty  years  ago  Mr.  G.  R.  Elkington,  the  founder  of  the  firm,  after  infinite 
labor  and  trouble,  and  in  the  face  of  the  sneers  of  the  manufacturers  of  the 
old  school,  developed  the  process  of  electro-plating  metal  into  a useful  art. 
Before  him  scientists  and  curious  experimenters  had  learned  the  secret  of  the 
Voltaic  current,  yet  its  prodigious  effect  upon  the  arts  as  an  element  of  use 
did  not  occur  to  them.  With  the  successful  application  of  the  new  agent  the 
manufacture  of  silverware  was  revolutionized.  The  firm  of  Elkington  & Co. 
having  the  lead,  kept  it,  and  not  content  with  that,  exerted  themselves  to 


distance  all  competi- 
tors. In  this  also  they 
succeeded.  Nor  was 
this  all:  the  manufac- 
ture of  sterling  silver 
and  all  the  useful 
and  ornamental  pur- 
poses to  which  it  could 
be  applied  was  made 
to  keep  pace  with  the 
growth  of  the  other 
industry.  The  very 
best  artists  that  ample 
means  could  secure 
were  employed  to  ex- 
ercise their  skill  on 
the  precious  metals. 
Each  of  the  many 


Embroidered  Chair : Royal  School  of  Needlework. 


branches  which  are 
within  the  sphere  of 
metal-workers  was 
cultivated  and 
brought  to  the  high- 
est state  of  perfec 
tion,  so  that  to-day 
this  firm  occupy  the 
position  of  the  largest 
metal-working  manu- 
facturers in  the  world, 
producing  gold  and 
silver  work  of  ever\- 
description  from  ar- 
ticles of  mere  utility 
to  purely  ornamental 
objects  of  the  highest 
artistic  excellence. 


The  Elkington  exhibit  at  the  Centennial  may  be  conveniently  divided  into 
four  classes — artistic  silver-work  proper;  repousse-yROxV  in  silver,  iron  or  steel, 
with  enrichments  of  gold  and  silver  in  damascening,  inlaying  and  niello;  com- 
binations of  these  methods  with  silver;  and  enamels — cloisonne  and  champleve. 
To  these  are  added  electrotype  reproductions  of  several  of  the  famous  examples 
from  the  South  Kensington  Museum,  in  silver  and  copper  bronze. 

Our  engraving  on  page  125  belongs  to  the  second  class.  It  is  the  latest 
work  of  the  celebrated  artist  M.  Moril  Ladeuil,  and  in  the  opinion  of  compe- 


128 


THE  INTERNA  TJO  NAL  EXHIBITION,  1876. 


tent  judges,  as  a specimen  of  artistic  metal-work  of  the  highest  class,  it  has 
never  been  surpassed  either  in  conception  of  design  or  in  delicacy  of 
manipulation. 

The  diameter  of  the  Pompeian  Toilette — as  the  Plaque  is  called — is  some 


Bronze  Vases : Japanese  Court. 


twenty  inches.  The  centre  is  oxidized  silver;  the  rim  is  of  steel  of  two  colors, 
enriched  with  gold  damascening  and  repousse-'work ; yet  it  is  almost  impossible 
to  believe  that  the  scene  which  gives  the  name  to  the  plaque  also  has  been 
hammered  out  by  the  repousse  process.  Looking  at  the  engraved  picture,  one 


INDUSTRI AL  ART. 


129 


would  say  it  was  after  some  fine  painting — say  by  Alma  Tadema — and  was  the 
labor  of  the  brush  and  pencil  rather  than  the  mallet  and  chisel.  An  inspection 
of  the  piece  itself  rather  increases  than  diminishes  the  wonder.  The  texture 
of  the  flesh,  the  drapery,  the  plants,  the  effect  of  distance,  each  and  all  are 
expressed  with  truly  marvelous  fidelity  to  nature;  in  brief,  the  tecnique  is 
perfect.  Looked  at  as  an  artistic  conception,  the  work  is  not  less  remarkable. 
Here  is  a Pompeian  lady,  fresh  from  the  bath,  attended  by  her  female  slaves. 
The  toilet  is  nearly  completed;  the  necklace  and  armlets  have  been  adjusted; 
one  maiden  is  fastening  the  sandals  to  the  anklets ; another  stands  holding  the 
robe  shortly  to  be  donned,  and  a third  finishes  the  adornment  of  the  hair 
while  her  mistress  contemplates  the  effect  in  a mirror.  The  pose  and  expres- 
sion of  each  one  of  these  figures  are  a study,  but  the  central  figure  is  a 
marvel  of  grace  and  loveliness.  Accessory  to  this  group  are  the  room,  the 
furniture,  the  ornaments,  the  flowers,  and  the  recess  beyond.  All  these  details 
it  will  be  observed  have  been  carefully  studied  and  combined  to  give  a most 
harmonious  whole.  Except  in  the  other  works  exhibited  by  the  Messrs. 
Elkington,  there  is  no  metal-work  of  a like  description  in  the  Exhibition 
comparable  with  this  fine  plaque. 

On  page  127  we  give  an  illustration  of  another  of  the  uses  to  which  the 
production  of  the  Royal  School  of  Art  Needlework  can  be  applied.  It  is 
an  Ebony  Chair,  covered  on  the  back  and  seat  with  olive-green  satinette,  on 
which  a spirited  and  well-designed  vine  pattern  has  been  embroidered.  The 
plant  is  a convolvulus,  the  flowers  worked  in  blue,  and  the  leaves  in  the 
different  shades  of  brown  and  green.  Work  of  this  kind  is  so  truly  feminine 
and  can  be  made  so  thoroughly  artistic,  that  we  trust  the  example  of  our 
English  sisters  will  be  followed  by  the  women  in  this  country. 

Japan,  with  its  civilization  so  different  from  ours  that  it  might  be  that  of 
another  planet,  is  represented  at  the  Centennial  by  a display  so  novel  and 
attractive  as  to  be  an  unfailing  source  of  interest  to  all  visitors  of  whatever 
other  nationality.  We  engrave  on  page  128  a group  of  Bronze  Vases  from 
this  section  which  illustrate  in  an  excellent  manner  the  beauties  and  oddities 
of  the  peculiar  artistic  methods  of  the  Japanese.  As  metal-workers,  these 
wonderful  people  surpass  in  certain  respects  their  European  brethren,  and 
of  their  processes  are  to  this  day  inimitable. 


X 


some 


130 


THE  INTERNATIONAL  EXHIBITION,  1876. 


The  central  piece  of  this  group  stands  some  four  feet  high.  It  is  com- 
posed entirely  of  bronze,  save  the  panels  between  the  dragon  handles,  which 


Majolica  Clock  Case : Daniells  Sons,  London. 


are  damascened  with  silver  and  gold.  The  panel  on  this  side  represents  a 
knight  doing  penance  by  standing  under  a cataract,  and  on  the  obverse  he  is 
seen,  his  sins  washed  away,  having  a quiet  cup  of  tea  with  a couple  of  friends. 


INDUSTRIAL  ART. 


131 


So  far  the  European  can  trace  a meaning  in  the  design;  but  when  it  comes 
to  explaining  the  half  human  monsters,  the  dragons,  sea-serpents,  and  other 
animals,  it  is  only  possible  to  suppose  that  they  may  be  the  representations  of 
traditional  creatures  such  as  figure  in  the  Arabian  Nights,  and  the  like  of 
which  learned  scientists  assure  us  once  walked  or  crawled  upon  the  face  of  the 
earth  and  swam  across  the  seas.  The  decoration  of  the  smaller  vases,  saving 
the  winged  beasts  that  serve  as  handles,  is  more  easily  understood.  The  panels 
in  these  have  birds  and  butterflies  copied  with  wonderful  fidelity  and  spirit 
after  nature,  and  are  really  beautiful ; and  in  these  pieces,  as  in  all  the  articles 
of  Japanese  manufacture,  we  see  a minuteness  of  workmanship  and  finish  such 
as  no  Christian  people  can  afford  the  time  to  emulate. 

A novelty  in  the  exhibit  of  the  Messrs.  Daniells  & Sons,  of  London,  is 
the  Majolica  Clock  Case  which  we  illustrate  on  page  130.  The  design  is 
remarkable,  spirited  and  attractive,  the  figures  of  the  cupids  and  dolphins  being 
particularly  excellent.  A great  feature  of  this  piece  is  the  richness,  variety 
and  brilliancy  of  the  enamels,  for  it  must  be  remembered  that  the  firing  which  arti- 
cles of  this  character  are  submitted  to  admits  the  use  of  but  a limited  range  of 
colors.  On  a ground-work  of  bright  turquoise  blue  we  find  drabs,  chocolates, 
greens,  and  yellows,  as  well  as  the  flesh  tints  of  the  figures,  which  are  in  high 
relief.  This  is  an  unusual  combination,  and  can  only  be  produced  by  artists 
who  have  a superior  knowledge  and  skill  in  the  resources  of  the  art  of 
majolica  painting. 

Although  the  chief  exhibit  in  the  Danish  Court  is  pottery,  there  is  a small 
yet  choice  collection  of  artistic  silverware  made  by  Christisen,  of  Copenhagen, 
from  which  we  select  the  Tea  Service  that  is  illustrated  on  page  132.  The 
beauty  of  this  set,  beyond  its  exceedingly  graceful  design  and  masterly  execu- 
tion, is  the  combination  of  gold  gilding  with  and  on  the  silver.  All  the  more 
prominent  portions  of  the  ornamentation  as  well  as  the  arabesque  patterns  are 
gold  gilt,  and  the  effect  is  heightened  by  the  gold  being  burnished  to  a high 
state  of  polish,  while  the  surface  of  the  silver  is  made  as  dull  as  possible, 

M.  Christisen’s  exhibit  is  a small  collection,  but  very  choice.  We 
remember  the  display  of  silverware,  repousse-vjork  and  jewelry  which  he  made 
at  Vienna,  and  were  not  surprised  that  he  was  awarded  the  highest  honors  of 
that  year. 


132 


THE  INTERNA  TIONAL  EXHIBITION,  1876. 


Tea  Serz’ice  : Christisen,  Copenhatretf . 


134 


THE  INTERNATIONAL  EXHIBITION,  1876. 


The  art  of  making  tapestry  dates  back  to  remote  antiquity.  Mention  is 
made  of  it  in  the  Scriptures,  and  it  was  used  by  the  Greeks  and  Romans.  On 
the  Continent,  tapestry  was  largely  used  for  curtains  and  hangings,  and  in 
England  the  fabric,  employed  in  this  way,  was  usually  called  Arras,  on  account 
of  the  superior  excellence  of  the  work  done  in  that  town.  In  France,  the 
famous  manufactory  established  by  the  Brothers  Gobelin,  became,  under  the 
protection  of  Louis  XIV,  the  most  celebrated  of  those  and  modern  times.  In 
England,  tapestry  making  has  been  but  little  practiced  since  the  time  of 
Charles  I.  Probably  the  most  celebrated  examples  of  this  costly  manufacture 
are  the  series  of  Scripture  subjects  now  in  the  Vatican,  at  Rome.  The  cartoons 
for  these  tapestries  were  designed  by  Raphael,  and  seven  of  them  are  now  in 
the  South  Kensington  Museum.  Our  illustration,  on  the  preceding  page,  pre- 
sents a group  of  three  tapestries,  representing  the  Christ  and  John,  Paul, 
Peter  and  Thaddeus,  manufactured  by  Thomas  Tapling  & Co.,  of  England. 
They  attract  much  attention,  both  on  account  of  the  excellence  of  the  work- 
manship and  the  brilliancy  and  harmony  of  the  colors  employed. 

We  spoke  at  some  length,  a few  pages  back,  of  the  celebrated  establish- 
ment of  the  Messrs.  Elkington  & Co.,  at  Birmingham,  England,  and  of  the 
superb  display  of  artistic  metal-work  made  by  them  in  the  British  Section  of 
the  Main  Building.  We  now  present  to  our  readers  an  illustration — seen  on 
the  next  page — of  the  chef  d'ceuvre  of  the  collection,  the  magnificent  Helicon 
Vase,  which  has  been  pronounced  to  be  the  masterpiece  of  the  celebrated  metal 
sculptor,  M.  Morel  Ladeuil,  the  same  artist,  it  will  be  remembered,  who  designed 
“ The  Pompeian  Toilette,”  already  described.  M.  Ladeuil  was  engaged  for 
upwards  of  six  years  upon  this  piece,  exhibiting  it  for  the  first  time  at  the 
Vienna  Exposition,  where  the  jury  pronounced  it  to  be  the  most  important  and 
the  most  beautiful  work  of  modern  times. 

The  materials  of  which  the  Helicon  Vase  is  composed  are  oxydized  silver 
and  steel, — the  latter  damascened.  The  piece  is  designed  to  symbolize  the 
Apotheosis  of  Music  and  Poetry.  It  is  in  the  Italian  Renaissance  style,  a style 
which  combines  classical  purity  with  great  richness  and  elaboration  of  detail. 
In  form,  the  piece  may  be  described  as  an  elongated  plateau,  the  surface  sloping 
upwards  to  the  centre,  on  which  rests  the  vase.  The  plateau  is  enriched  with 
sculptured  panels  and  medallions,  and  around  the  border  is  a series  of  twelve 


INDUSTRIAL  ART. 


135 


The  Helicon  Vase  : Elkington  Co. 

the  background  of  dark,  richly  damascened  steel.  The  two  oval  medallions  are 
occupied  by  bas-reliefs,  the  one  containing  a representation  of  Pegasus,  bearing  a 
genie  typifying  Inspiration,  and  the  other,  a griffin  or  hippograph,  carrying  the 


bas-reliefs,  of  various  shapes,  illustrative  of  the  different  kinds  of  Music  and 
Poetry.  The  interstices  of  the  design  are  filled  in  with  scrolls,  masks,  and 
trophies  of  various  kinds,  formed  of  beaten  silver,  which  is  thrown  into  relief  by 


136 


THE  INTERNATIONAL  EXHIBITION,  1876. 


genie  of  Imagina- 
tion. The  execution 
of  these  figures  is 
p a rticularly  fine. 
They  are  modelled 
with  great  power 
and  spirit,  and  the 
finish  given  to  the 
workman  ship  is 
something  marvel- 
ous. Only  with  the 
aid  of  a magnifying 
glass  can  its  ex- 
treme delicacy  be 
appreciated.  As  ex- 
ples  of  the  beauty 
of  the  panels,  we 
may  cite  two,  illus- 
trative of  satirical 
and  elegaic  poetry. 
In  the  first  is  a vail- 
ed, recumbent  figure, 
attended  by  mourn- 
ing  genii,  in  a land- 
scape saddened  by 
cypresses  and  wil- 
lows. In  the  other, 
satirical  poetry  is 
emblematized  by  a 
grinning  satyr,  who 
has  just  removed 
with  one  hand  the 
comely  mask  which 
lately  hid  his  fea- 


Carved  Panel : Luigi  Frullim.of  Florence,  Italy. 


tures,  while  with  the 
other,  he  is  scourging 
a group  of  unsus- 
pecting rustics,  who 
had  assembled  to 
listen  to  him.  Rest- 
ing on  the  plateau, 
at  the  foot  of  the  vase, 
are  two  half-dressed 
female  figures,  sym- 
bolizing Music  and 
Poetry,  attended  by 
youthful  genii.  The 
modeling  of  these 
figures  is  simply  su- 
perb, and  the  ren- 
dering of  the  skin 
texture  of  the  nude 
portions  of  the  body 
is,  perhaps,  the  most 
remarkable  illustra- 
tion in  the  whole 
work  of  the  techni- 
cal skill  of  the  art- 
ist. The  vase  itself 
is  of  ovoid  form, with 
upraised  handles 
gracefully  continu- 
inof  the  curve  of  the 
sides,  rises  tall  and 
stately  above  the  fig- 
ures on  the  plateau. 
It  is  surmounted  by 
a charmingly-posed 


INDUSTRIAL  ART. 


137 


group  of  two  boyish  genii,  the  upper  one  bearing  aloft  Apollo’s  lyre,  which 
forms  the  apex  of  the  work,  while  the  youth  at  his  feet  tests  the  purity  of  the 
strain  with  a tuning-fork.  The  modeling  of  these  figures  is  quite  worthy  of  the 
other  portions  of  the  work.  They  will  bear — as,  indeed,  will  the  other  figures — 
the  critical  examination  of  artists.  The  dimpling  flesh,  the  soft,  rounded  limbs, 
and  all  the  flexions  of  the  body  are  instinct  with  life.  Here,  too,  the  wonderful 
technical  skill  with  which  the  metal  has  been  treated  is  evident.  By  the  aid  of 


Viise  of  Sevres  Ware. 


the  glass,  the  flesh  texture  is  seen  to  have  been  produced  by  a minute  stippling 
process,  the  mere  contemplation  of  which  fills  the  observer  with  wonder.  Floral 
garlands  on  either  side  connect  this  group  with  the  handles  of  the  vase,  and 
give  strength  and  breadth  to  the  composition. 

On  the  body  of  the  vase,  on  either  side,  is  a large  medallion  relief,  in  repousse, 
representing  the  nine  Muses,  four  on  one  and  five  on  the  other ; the  former — 
the  medallion  seen  in  our  illustration — is,  perhaps,  the  most  beautiful  group  in 


138 


THE  INTERNATIONAL  EXHIBITION,  1876. 


this  chaste  and  harmonious  work.  At  the  bases  of  the  handles  are  escutcheons 
bearing  the  names  of  illustrious  poets  and  composers:  Homer,  Shakespeare, 
Moliere  and  Byron,  on  the  one  side,  and  Handel,  Haydn,  Beethoven  and  Mozart, 
on  the  other. 

The  foregoing  is  but  a bare  description  of  this  great  work  ; no  words  can 


The  Amazon  Vase:  Doulton  <&"  Co. 


convey  an  adequate  idea  of  its  fine  workmanship  and  artistic  designing.  To 
state  that  the  art  labor  alone  bestowed  upon  it  cost  thirty  thousand  dollars  in  gold, 
is  but  to  give  the  figures  representing  the  commercial  value  of  an  expression 
of  genius  which  cannot  be  bought,  but  comes  to  man  as  a gift. 


INDUSTRIAL  ART. 


139 


The  section  of  a Carved  Panel,  by  L.  Frullini,  of  Florence,  that  we  engrave 
on  page  136,  is  a piece  of  work  worthy  of  the  ancient  wood-carvers  of  Italy. 


Carved  Pulpit : y.  A.  H.  Goyers,  Louvain,  Bejgium. 

The  material  is  a soft,  white  wood,  resemblinor  deal — thoua-h  of  a much  finer 

o o 

grain — and  admirably  adapted  to  work  of  this  kind.  The  panel  is  about  a foot 


140 


THE  INTERNATIONAL  EXHIBITION,  1876. 


wide  and  eight  feet  high,  the  upper  portion — not  shown  in  the  illustration — 
being  simply  a combination  of  the  same  general  design  seen  here.  This,  the 
reader  will  observe,  is  a group  of  ferns  and  twining  plants  in  flower,  rising 
from  an  antique  vase  in  graceful  convolutions  and  intermingling  of  tendrils. 
Birds,  animals  and  reptiles  are  disposed  here  and  there,  with  a charming  irregu- 
larity that  makes  the  discovery  of  them  a study.  The  carving  is  in  very  high 
relief,  with  a great  deal  of  skilful  undercutting;  the  figures,  in  some  instances, 
being  quite  detached  from  the  background.  The  average  relief  of  the  work  is 
about  six  inches,  though,  in  many  places,  this  measurement  is  exceeded.  It 
is  difficult  to  decide  between  the  animals  and  plants  as  to  which  Mr.  Frullini 
shows  the  most  skill  in  carving.  Each  is  admirable  in  its  way,  and  the  whole 
piece,  in  the  spirit  and  vigor  of  its  execution,  bears  the  stamp  of  a master-artist’s 
hand. 

We  illustrate  on  page  137,  a Sevres  Vase,  an  example  of  the  work  of  the 
most  famous  porcelain  manufactory  in  the  world.  The  influence  of  this  great 
establishment  in  forming  the  taste  of  modern  Europe  for  ceramic  ware  is 
simply  incalculable.  Its  productions  cannot  rightly  be  judged  by  any  of  the 
rules  applicable  to  minor  factories ; for,  from  the  time  the  works  came  under 
royal  patronage,  Sevres  became,  in  the  words  of  another,  “a  richly  endowed 
school  of  design.”  The  best  artists  of  Europe  furnished  designs  for,  and  painted 
upon,  its  bisquit ; the  most  experienced  chemists  were  employed  to  bring  this 
bisquit  to  perfection.  Pate  tendre,  or  soft  porcelain,  the  most  difficult  of  all 
pottery,  was  early  discovered  here,  and  the  pieces  manufactured  of  this  compo- 
sition include  the  most  superb  triumphs  of  the  ceramic  art.  The  best  period — 
when  the  finest  and  most  sumptuous  pieces  were  made — ^was  toward  the  close  of 
the  last  century.  When  pate  dure,  or  hard  porcelain,  was  discovered,  the  process 
of  manufacturing  in  this  composition  was  found  to  be  so  much  easier  than  to 
make  pate  tendre,  that  the  latter  was  only  occasionally  practiced.  Of  late  years, 
the  production  of  the  Sevres  factory  has  been  largely  pate  diii'c,  and  in  this,  tlie 
superior  quality  of  the  kaolin  (porcelain  clay)  used,  and  the  exceeding  hardness 
of  the  glaze  with  which  the  bisquit  is  covered,  renders  the  finished  work  incom- 
parably the  best  in  the  world  as  far  as  mere  technique  goes.  Yet,  a curious 
result  of  these  qualities  is,  that  their  excess  of  excellence,  so  *to  speak,  leaves 
little  opportunity  for  the  decorator  to  exercise,  his  skill  upon  the  ware.  The 


INDUSTRIAL  ART. 


141 


glaze  is  so  hard  that  the  colors  do  not  incorporate  with  it,  but  lie  hard  and 
cold  upon  the  surface.  There  is  no  ground  for  fine  chromatic  effects,  and  it  is 


Clock  and  Bronze  Group  : The  Collective  Exhibit  of  France. 


an  acknowledged  fact  that  now  French  artists  prefer  to  paint  their  designs 


142 


THE  INTERNATIONAL  EXHIBITION,  1876. 


upon  stoneware  or  other  pottery  rather  than  upon  pate  dure.  On  the  other 
hand,  pate  tendre  is  of  such  nature  that  colors  incorporate  with  the  body  and 
combine  with  the  glaze.  A pate  tendre  vase  of  the  best  period  has  a richness 
and  warmth  of  color  that  no  words  can  , fittingly  describe.  The  vase  that  we 
illustrate  is  of  the  pate  dure  variety. 

On  page  138  is  an  illustration  of  the  Amazonian  Vase,  that  forms  one  of  the 
principal  ornaments  to  Horticultural  Hall.  This  fine  work  of  art  is  made  of 
terra-cotta,  an  humbler  material  than  porcelain,  although  scarcely  inferior  to  it  in 
usefulness.  It  is  another  example  of  the  large  and  varied  display  of  artistic 
pottery  made  by  the  Messrs.  Doulton  & Son,  of  Lambeth,  England.  The  vase 
was  designed  by  Tinworth,  one  of  the  most  promising  young  sculptors  of  the 
day,  and  it  may  be  considered  one  of  his  best  efforts.  The  relief  modeling  of 
the  figures  is  finely  executed,  the ‘drawing  is  exceedingly  spirited,  and  the  minor 
accuracies  of  the  composition  are  introduced  with  much  skill.  The  vase  stands 
some  five  feet  high,  the  figures  in  the  zone  varying  from  eight  to  twelve 
inches  in  stature. 

Covers’  Ogive  Pulpit,  one  of  the  features  of  the  Belgian  Court,  is  certainly 
one  of  the  best  and  most  artistic  pieces  of  wood-carving  in  tiie  Exhibition. 
This  pulpit  is  some  fifteen  feet  high  by  five  feet  in  extreme  width.  It  is  made 
entirely  of  carved  oak,  with  some  gilding  and  color  decoration,  introduced  in  the 
ceiling  of  the  canopy.  The  most  elaborate  carving  is  in  the  panels,  the  other 
portions  of  the  work  being  kept  severely  plain,  in  order  to  heighten  the  effect. 
The  lower  row  of  panels — around  the  base — contains  intricate  interweavings  of 
flowers  and  ferns.  The  next  row  has  representations  of  scenes  from  the  life  of 
the  Saviour,  carved  in  basso-relievo.  Between  these  panels  are  devotional 
figures  and  figures  of  saints,  and  above  the  canopy  are  angels,  all  carved  in  the 
round. 

The  French  Bronze  Exhibit  at  the  Centennial,  though  one  of  the  least 
satisfactory  displays  made  in  the  French  Section,  contains  some  very  fine  pieces. 
A favorite  form  of  these  bronzes  is  the  group  of  mantel  ornaments, — the  clod, 
and  vases,  or  simply  the  clock — without  which  no  French  apartment  would  be 
considered  furnished.  We  have  selected  for  illustration  one  of  the  most  beau- 
tiful of  these  latter  forms,  the  Corneile  Clock — shown  on  page  141.  In  truth, 
the  mechanical  part  of  such  an  art-work  as  this  is  a matter  of  small  importance ; 


INDUSTRIAL  ART. 


143 


Since  the  mechanism  of  the  clock  is  intro.duced  into  the  pedestal,  and  the  face  is 
made  a part  of  the  ornamentation ; but  the  value  of  the  work  is  in  the  noble  and 


classical  group — the  mother  and  her  children — that  surmounts  the  pedestal. 
The  clock  is  merely  an  unobtrusive  and  happy  adaptation  by  which  a purely 
ornamental  object  becomes  a useful,  while  remaining  a beautiful  article. 


144 


THE  INTERNATIONAL  EXHIB ITION,  1S76. 


Frame : Emile  Phillipe,  Paris. 


INDUSTRIAL  ART, 


145 


A.  Rlanc . Del. 


Crystal  Chandelier:  Afitchell,  Vance  Co.,  New  York. 


F.  Faas,  F.ni^r. 


146 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Perhaps  no  better  idea  of  the  effectiveness  with  which  glass  can  be  used  as 
a decorative  agent  for  chandeliers  was  afforded  in  any  portion  of  the  Exhibition, 
than  in  the  stalls,  in  the  American  section  of  the  Main  Building,  occupied  by 
Messrs.  Mitchell,  Vance  & Co.,  of  New  York.  The  array  of  light,  graceful  forms 
for  pendants  and  side-lights,  the  handsome  clusters  and  the  superb  centre-pieces 
of  elaborate  design,  all  in  crystal,  thus  displayed,  made  the  exhibit  of  this  firm 
one  of  the  most  interesting  and  attractive  features  of  that  portion  of  the  building. 
Of  course,  owing  to  the  regulations  governing  the  Exhibition,  it  was  not  allowable 
to  introduce  gas  into  the  tubes,  which  lighted,  would  have  shown  the  effect 
most  advantageously ; but  there  were  certain  periods  during  the  day  when 
the  sun-light,  shining  in  through  the  upper  transoms  of  the  building,  fell 
upon  these  objects  and  was  reflected  from  the  angles  of  the  crystal  in  a 
shower  of  prismatic  colors.  Under  these  circumstances  some  idea  could  be 
obtained  of  the  beauty  of  the  designs  when  answering  the  purposes  for  which 
they  are  intended. 

The  use  of  crystal  for  decorative  purposes  in  connection  with  artificial  light 
was  a most  happy  inspiration  and  cannot  be  too  highly  recommended.  The 
material  recommends  itself  at  once  as  being  the  most  suitable  known  for  such 
purposes.  By  its  brilliancy  and  refractive  power,  it  rather  increases  than 
diminishes  the  power  of  illumination  ; its  apparent  lightness  and  transparency 
singularly  adapt  it  for  use  in  large  masses,  and  the  infinite  variety  of  forms 
and  colors  with  which  it  may  be  treated,  without  losing  the  two  requisites  of 
brilliancy  and  lightness,  completes  its  value.  In  our  opinion  nothing  is  more 
effective  or  appropriately  beautiful  than  a crystal  chandelier. 

On  page  145  we  illustrate  one  that  attracted  much  attention  in  Messrs. 
Mitchell,  Vance  & Co.’s  display.  Its  shape  is  that  of  a double  pyramid. 
Erom  the  central  zone  the  burners — thirty  in  number — rise  in  groups  of  four, 
circle  above  circle,  until  the  highest  tier  is  reached,  above  which  some  ornamental 
work  is  added  at  intervals  about  the  central  tube.  The  lower  portion  of  this 
chandelier  is  formed  of  concentric  rings,  each  smaller  one  suspended  below  the 
other ; and  from  every  portion  of  the  whole  depend  transparent  crystal  prisms 
of  wonderful  brilliancy  and  lustre.  Globes  of  ground  glass  soften  and  tone 
the  gas-light  from  a garish  glare,  painful  to  the  eyes,  to  a softened  radience 
approaching  the  light  of  day. 


INDUSTRIAL  ART. 


147 


At  one  of  the  entrances  to  their  stalls  Messrs.  Mitchell,  Vance  & Co. 
showed  a noble  example  of  their  skill  as  metal-workers  by  erecting  a Brass 
Gate  of  admirable  design  and  fine  workmanship.  A glance  at  the  engraving 
on  this  page  will  give  the  reader  an  excellent  idea  of  its  appearance.  The 
construction  is  of  the  simplest  possible  description  consistent  with  strength.  The 
frame  of  parallel  bars,  mortised  together,  is  perfectly  plain.  In  the  corners  are 


Bronze  Railing : Mitchell,  Vance  Co. , New  York. 


small  rosettes  giving  a finish  to  the  whole ; but  even  these  do  not  claim  atten- 
tion beside  the  graceful  work  which  ornaments  the  central  portion.  The  design 
here  is  a pair  of  double  helices,  the  smaller  ones  above,  with  branching  curves 
as  in  the  tendrils  of  a plant.  The  extremities  of  each  part  end  in  rose-shaped 
figures,  and  in  one  place,  the  design  opens  out  into  a leaf  form.  These  double 
helices  are  on  either  side  of  the  central  upright  to  which  they  are  joined  by 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


148 


ornamented  brasses.  The  same  motive  is  used  for  the  smaller  ornamentation 
at  the  sides  of  the  gate-posts  and  as  a finish  to  the  cross  bar,  in  all  of  which 
minute  and  delicate  workmanship  is  apparent.  Every  portion  of  the  construc- 
tion, except  the  raised  and  chisel-work,  left  dead  for  contrast,  is  highly  burnished, 
which,  of  course,  adds  much  to  its  beauty. 

Although  the  section  of  the  Main  Building  allotted  to  Russia  was  empty 
for  many  weeks  alter  the  Exhibition  opened,  yet,  when  her  contribution  to  our 
centennial  celebration  did  arrive,  it  was  found  in  every  respect  worthy  of  the 
great  nation  whose  kindly  feeling  and  good-will  toward  the  United  States  has 


Punch-Bowl,  Persian  desi^^n  hf.  Sassikoff,  Russia. 


more  than  once  been  manifested.  Probably  to  no  one  national  display  in  the 
whole  Exhibition  can  the  term  “gorgeous”  be  more  appropriately  given  than  to 
that  made  by  Russia.  The  rich  stuffs,  the  magnificent  metal-work,  the  jewelry, 
precious  stones  and  cabinets  and  tables  of  malachite  were  regal  and  sumptuous 
to  a degree  beyond  anything  to  be  seen  elsewhere.  After  Japan  and  China  it 
is  safe  to  say  that  the  Russian  collection  attracted  more  sight-seers  than  any 
other.  There  was  something  of  barbaric  splendor  in  all  their  art-work,  and  an 
oriental  richness  of  color  in  their  decoration,  strongly  suggestive  of  that  eastern 
influence  which  is  now  again  asserting  itself  in  other  portions  of  Europe. 


INDUSTRIAL  ART. 


149 


This  characteristic  was  noticeable  in  the  displays  of  enameling  on  gold  and 
silver,  to  which  a large  portion  of  their  court  was  assigned.  As  an  example  of 
this  work  we  have  selected  for  illustration  an  elaborate  piece,  a Punch-Bowl, 
with  its  accessories,  consisting  of  a waiter,  goblets  and  ladle,  all  in  gilt  metal 
and  enamel,  exhibited  by  the  manufacturers,  M.  Sassikoff,  of  St.  Petersburg 
and  Moscow. 

It  is  hardly  possible  in  an  engraving  to  give  an  idea  of  the  richness  of  a 
production  of  this  kind,  for  it  must  be  remembered  that  the  intricate  designs 
here  shown  in  black  and  white  are  in  reality  colored  enamels  of  great  brilliancy, 
vividly  contrasted  and  applied  to  a gold  surface.  Add  to  this  the  work  notice- 
able in  the  ladle  and  goblets,  of  the  chiseller  and  repousse-worker,  and  it  is  clear 
that  the  object  itself  must  be  examined  in  order  to  thoroughly  appreciate  its 
value. 

In  emulation  of  the  ancient  baronial  halls  and  palaces  of  Europe  it  is 
becoming  fashionable  in  this  country  to  decorate  the  apartments  of  our 
private  residences  with  suits  or  pieces  of  armor,  and  the  taste  is  not  altogether 
a foolish  one.  Under  certain  conditions,  and  within  due  limits,  armor  can  be 
used  most  effectively ; but  good  pieces  of  truly  artistic  workmanship  are  difficult 
to  procure,  and  such  collections  as  are  to  be  found  in  many  of  the  museums 
abroad  could  not  now  be  duplicated.  For  purposes  of  illustration,  as  bringing 
to  mind  the  days  of  knighthood  and  chivalry  and  the  times  when  pomp  and 
pageantry  were  a part  of  war’s  array,  when  the  fate  of  nations  was  decided  by 
single  combats,  nothing  brings  the  time  more  vividly  before  the  present  than 
these  steel  habiliments.  And  in  another  sense,  as  furnishing  examples  of  the  art 
of  the  metal-workers  in  those  centuries,  armor  is  of  the  highest  value,  for  the 
most  skilled  labor  of  the  age  was  expended  upon  its  manufacture.  It  has 
always,  therefore,  been  a matter  of  interest  to  collect  and  preserve  these 
symbols  of  war,  and  now  that  they  have  become  so  scarce,  extraordinary  prices 
are  demanded  for  genuine  pieces.  A natural  sequence  to  this  condition  of  affairs 
is  that  of  late  years  the  production  of  counterfeit  articles  and  imitations  of  original 
examples  has  become  a lucrative  business,  and  only  the  extreme  difficulty  of 
the  work  has  prevented  its  wider  practice.  Indeed  the  finer  specimens  of 
damascening  and  link-work  cannot  be  reproduced  by  modern  workmen,  who, 
perforce,  must  confine  themselves  to  making  the  coarser  kinds.  But  another  art, 


150 


THE  INTERNATIONAL  EXHIBITION,  1876. 


that  of  electro,  has  recently  been  brought  to  bear  in  this  regard,  which  reproduces 
in  fac-simile,  as  far  as  appearance  goes,  the  most  elaborate  examples  of  ancient 
armor,  while  at  the  same  time  no  one  possessing  the  sense  of  touch  need  be 
deceived  as  to  its  genuineness.  In  this  way  it  is  quite  within  the  power  of 
museums  possessing  moderate  means  or  of  individuals  having  houses  suitable  for 
such  ornamentation  to  supply  themselves  with  examples  of  the  best  periods  of 


armor- work- 
ing ; and  any 
hall,  worthy  of 
the  name,  can 
hardly  have  a 
more  effective 
adornment 
than  a group, 
say  of  a hel- 
met, shield  and 
a pair  of  cross- 
ed swords  and 
oauntlets  sus- 

o 

pended  from 
the  wall. 

In  connec- 
tion with  oui 
illustrations  on 
pages  1 50  and 
1 5 1,  the  Hel- 
met of  Henry 


Helmet  of  Henry  IV.  : Italian  Court. 


IV.  and  the 
Shield  of 
Francis  I.  ex- 
hibited in  the 
Italian  Court, 
it  may  not  be 
u ninteresting 
to  give  a brief 
sketch  of  this 
now  unpractis- 
ed art. 

That  the 
use  of  armor 
is  of  very  an- 
cient date  is 
abundantly 
proved  by  the 
painted  tombs 
of  Thebes  and 
the  sculptured 
walls  of  Nine- 


veh. Every  one  familiar  with  classical  history  will  recall  the  golden  armor  of 
Glaucus,  the  shield  of  Agamemnon,  and  the  world-famous  arms  of  Achilles ; 
but  existing  examples  of  the  accoutrements  of  the  Greeks  and  of  the  Romans 
in  the  imperial  days  are  of  the  greatest  rarity. 

The  early  Saxons,  Danes,  and  Normans  usually  wore  armor  composed  of 
small  plates  or  rings  stitched  upon  leather,  which  accounts  for  the  absence  of 
any  specimens  of  that  time,  although  spear-heads,  shields  and  daggers  belonging 


INDUSTRIAL  ART. 


151 


to  them  are  often  found.  The  famous  Bayeux  Tapestry  illustrates  the  armor 
of  the  eleventh  century,  with  the  Conqueror  in  a suit  of  mail,  surrounded  by 
warriors  in  scale-armor,  and  by  archers  with  only  a portion  of  their  body 
so  protected. 

After  the  twelfth  century  it  is  easy  to  trace  the  advance  made  in  the 
manufacture  of  armor  by  reference  to  the  many  sculptured  brasses  and 


monuments  and 
illuminated  manu- 
scripts of  the 
time.  In  these  we 
see  the  earliest 
traces  of  the  use 
of  heraldic  devi- 
ces; but  only  two 
or  three  examples 
of  early  medie- 
val armor,  in  the 
shape  of  helmets, 
shields  and  some 
broken  gauntlets 
are  extant.  In  the 
Tower  of  Lon- 
don, which  pos- 
sesses one  of  the 
most  famous  col- 
lections of  armor 
in  the  world,  are 
some  complete 


Shield  of  Francis  Italian  Court 


suits  of  armor  of 
the  fifteenth  cen- 
tury, and  a helmet, 
said  to  be  that  of 
the  Black  Prince, 
is  also  preserved 
in  Encjland. 

In  Europe 
suits  of  plate  ar- 
mor came  into 
use  early  in  the 
fourteenih  cen- 
tury and  a century 
later  artistic  labor 
of  a high  order 
was  employed  in 
decorating  it. 
Italy  executed  the 
most  noteworth)' 
examples;  her  ar- 
tists vying  with 
each  other  in  pro- 


ducing intricate  designs,  chased  and  engraved  upon  the  metal  or  damascened 
with  gold  and  silver.  Subjects  also  were  carved  in  bas-relief,  or  embossed  in 
arabesques  by  the  favorite  method  of  hammering  up  the  reliefs,  known  as 
repousse-vioxV.  Our  two  illustrations  are  notable  examples  of  the  best  periods 
in  the  history  of  armor  making.  In  the  helmet  the  repousse  figures  which 
cover  the  sides,  the  vizor  and  the  lower  portion  protecting  the  throat  are 


152 


THE  INTERNATIONAL  EXHIBITION,  1876. 


admirably  executed,  and  nothing  could  be  more  spirited  than  the  winged 
dragon  surmounting  the  crown.  The  shield  of  Francis  I.  is  a more  elaborate 
work  than  the  other,  and  its  broader  surface  has  been  taken  advantage  of  for 
the  display  of  more  pictorial  skill. 

With  the  introduction  of  firearms  and  the  new  system  of  warfare  following 
its  introduction,  body-armor  fell  into  disuse  and  decorative  art  was  exercised 
chiefly  upon  arms.  Here  again,  as  the  character  of  the  weapons  changed  and 
war  assumed  a grimmer  aspect,  art  was  repelled  from  the  field  and  sought  more 
peaceful  subjects  for  expression.  Now,  excepting  in  the  east,  modern  weapons 
are  decorated  only  when  they  are  intended  for  ornament  and  not  for  use. 

A notable  example  of  wood-carving  is  exhibited  by  Snyers,  Rang  & Co.,  of 
Brussels — a city  famous  during  the  renaissance  for  its  carvings  in  wood — is 
illustrated  on  page  153.  This  piece  is  an  Oak  Cabinet  inlaid  with  ebony.  The 
general  character  of  the  design  shows  the  traces  of  Italian  influences  in  its 
conception,  with  a suggestion  of  French  redundancy  and  minuteness  in  its 
treatment.  As  far  as  the  execution  goes,  however,  it  is  quite  faultless  and 
the  figure-work  is  especially  vigorous  and  dignified. 

The  under  portion  of  this  cabinet  is  composed  of  a single  broad  oak  panel, 
the  ebony  inlaying  forming  the  pattern  (in  low  relief)  shown  by  black  lines  in 
our  engraving.  The  central  group  of  flowers  and  the  floriated  designs  in  the 
corners  are  carved  in  somewhat  higher  relief  from  the  oak.  The  pillars  and 
the  entablature  are  treated  in  the  same  way,  but  in  the  upper  pattern  of  the 
work  its  inlaying  is  kept  even  with  the  surface.  An  excellent  feature  of  the 
work  is  the  frieze  above  the  cabinet  doors  and  the  arabesque  pattern  in  the 
dome-shaped  top.  The  sides  and  back  of  the  cabinet  are  also  ornamented  in 
the  same  way  as  the  front,  though  with  less  elaborateness. 

The  first  objects  to  attract  the  visitor  to  the  Chinese  Court  in  the  Main 
Building  were  the  endless  variety  of  articles,  principally  vases,  in  sea-green  and 
pale  blue  enamel,  ranged  around  the  eastern  and  northern  sides  of  the  enclosure. 
Monstrous  and  grotesque  forms,  birds,  beasts,  and  reptiles,  some  of  them 
copied  with  surprising  fidelity  after  nature,  but  most  of  them  having  that  peculiar 
treatment  characteristic  of  Chinese  work,  ornamented  these  articles,  and  a 
closer  inspection  revealed  delicate  and  marvellously  minute  traceries  in  patterns 
of  bewildering  intricacy.  These  articles  are,  without  exception,  examples  of  the 


INDUSTRIAL  ART. 


153 


opaque  cloisonne  enameling  on  metal  for  which  the  Chinese  have  a world-wide 


reputation  and 
some  of  the 
pieces  here 
exhibited  are 
valued  at  sev- 
eral thousand 
dollars.  One 
of  the  most 
elegant  of 
these  speci- 
mens, pur- 
chased by  Mr. 
Henry  C.  Gib- 
son of  this  city, 
forms  the  sub- 
ject of  our  il- 
lustration on 

page  155- 
This  vase 
measu  res 
some  five  feet 
in  height  by 
three  feet  in 
breadth.  Its 
prevailing 
color  is  sea- 
green,  but 
other  colors, 
such  as  blue, 
yellow,and  red 
appear  upon 


Oak  Cabinet : Snyers.  Rang  Co.,  Brussels. 


its  surface, and 
the  birds, 
which  are  mar- 
vels of  work- 
manship, have 
the  color  of 
their  plumage 
copied  after 
nature.  Our 
engraving  ex- 
cellently illus- 
trates the  ex- 
ceeding deli- 
cacy of  the  or- 
n a men  tat  ion 
in  this  fine 
piece,  but  it  is 
necessary  to 
u n d erstand 
something  of 
the  laborious 
processes  by 
which  this  ef- 
fect was  pro- 
duced in  order 
to  appreciate 
its  pfreat  value. 

Enameling, 
in  its  broadest 
sense,  is  the 
act  of  fixing  a 


vitreous  substance  on  any  surface  by  fusion  ; usually  that  surface  is  a metal. 
Enamels  are  either  transparent  or  opaque,  and  are  colored  by  metallic  oxides. 


154 


THE  INTERNATIONAL  EXHIBITION,  1876. 


The  processes  by  which  it  is  embedded  upon  or  in  the  metal  give  the  names 
cloisoftne  and  champlevL  There  are  other  processes  of  enameling,  but  it  is 
needless  to  speak  of  them  in  this  connection.  In  cloisonne  enameling  the  pattern 
is  formed  by  slender  strips  of  metal  being  bent  into  required  shape  and  fixed  to 
the  plate.  Into  the  cells  (whence  the  name)  thus  formed,  the  workman  pours 
his  enamel  paste,  and  the  piece  is  placed  in  the  furnace  for  fusion.  When  the 
process  is  completed,  the  article  is  taken  out,  cooled,  and  the  surface  rubbed 
down  and  polished.  In  the  chanipleve  process,  the  spaces  for  the  enamel  are 
dug  out  with  a tool,  the  raised  line  of  the  design  thus  being  a part  of  the 
plate  itself.  The  vitreous  matter  is  then  introduced  into  these  cavities,  the 
other  process  being  similar  to  those  pursued  in  preparing  the  cloisonne 
enamels. 

A beautiful  specimen  of  damascening,  or  inlaying  of  one  metal  in  another, 
is  the  Damascened  Frame,  manufactured  by  M.  Zuloaga,  of  Madrid,  exhibited 
in  the  Spanish  court.  Beside  the  inlaying  of  gold,  the  frame  is  ornamented 
with  strips  of  black  and  white  enamel,  and  some  of  the  arabesques  are  in 
niello, — a name  given  to  a kind  of  black  enamel  rubbed  into  the  engraved  lines 
on  silver.  In  the  general  design  and  in  the  character  of  its  ornamentation  this 
fine  work  shows  how  entirely  Spanish  art  retains  the  traditions  of  its  oriental 
masters. 

On  page  157  we  engrave  a section  of  a Lace  Curtain,  exhibited  by  the 
manufacturers,  Messrs.  Simon,  May  & Co.,  of  Nottingham.  The  space  left 
blank  in  our  illustration  is  the  net  upon  which  the  pattern  is  worked,  and  this 
black  background  will  enable  the  reader  to  distinguish  the  delicacy  and  beauty 
of  the  design.  There  is  something  fascinating  in  the  very  name  of  this  most 
delicate  and  costly  of  all  textile  fabrics,  and  the  study  of  the  processes  and 
history  of  its  manufacture  is  one  of  the  most  interesting  that  can  be  suggested. 
Few  persons  who  have  not  studied  the  subject,  can  have  any  idea  of  the 
labor  and  skill  necessary  to  produce  such  an  elaborate  composition  as  this  shown 
in  our  engraving,  yet  no  one  who  reads  these  pages  can  be  so  unappreciative 
as  not  to  be  struck  by  the  beauty  of  the  completed  work. 

On  page  159  we  engrave  another  beautiful  object  in  the  display  of 
Ceramic  Ware  made  by  the  Messrs.  Daniell  & Sons,  of  London.  This  a 
Majolica  Vase,  modeled  in  one  piece,  upward  of  two  feet  high  and  nearly 


INDUSTRIAL  ART. 


155 


three  feet  broad.  Like  every  other  article  in  the  Messrs.  Daniells’  exhibit,  this 
vase  is  a masterpiece  of  its  kind  and  may  be  taken  as  a noble  example  of  the 


Vase,  Cloisonne  enamel : Chinese  Court. 

art-workmanship  of  the  English  potters.  We  have  spoken  of  it  as  majolica, 
simply  because  that  is  the  popular  and  usual  name  for  ware  of  this  quality;  but 
it  is  not  the  true  majolica,  with  the  lustred  stanniferous  enamel,  but  an 


156 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Mirror  Frame,  Damascened  Iron : Zuloaga  &•  Son,  Madrid. 

enameled  faience  with  a lustre,  if  any,  obtained  by  the  use  of  lead.  During  the 


1 


IND  USTRIAL  ART. 


157 


Exhibition  this  vase  was  given  the  place  of  honor  on  the  stand  in  the  nave  of 
the  Main  Building  and  attracted  attention  by  the  richness  of  coloring  and  the 


Lace  Window  Curtain  : Simon,  Mav  &=  Co.,  Nottingham. 


spirit  displayed  in  the  modelling  of  its  figures.  The  color  of  the  body  of  the 
vase  and  the  prevailing  hue  of  the  whole  piece  is  a clear,  dark  blue.  The 
figured  zones  are  of  different  colors — white,  green,  yellow,  and  chocolate  brown, 


158 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


with  relief  ornamentation  of  diapered  pattern  in  complimentary  colors.  At  either 
end  of  the  body  of  the  vase,  which  is  of  an  oval  shape,  are  elephants’  heads, 
the  trunks  wound  round  and  under  so  as  to  form  handles.  Crouched  on  these 
heads  are  child  figures — genii,  partially  clad — bending  under  the  weight  of 
hammock-ropes  crossed  over  their  shoulders.  The  hammocks  themselves,  four 
in  number,  quarter  the  vase  at  the  sides,  and  are  upheld  at  their  other 
extremity  by  female  figures  twice  the  size  of  the  genii.  In  the  hammocks 
repose  nude  male  and  female  figures,  posed  in  the  relaxed  and  nerveless 
positions  peculiar  to  rest  in  one  of  these  swinging-couches.  The  female  figures 
first  mentioned  stand,  the  back  toward  the  vase,  the  legs  crossed,  the  elbows 
resting  upon  the  upper  surface,  in  attitudes  of  easy  rest.  The  short  skirt, 
gathered  in  at  the  thighs,  is  hung  with  bells  and  belted  around  the  waist 
with  an  embroidered  circlet.  The  hair  is  braided  in  heavy  bands  and  wound 
about  with  a turban.  Every  feature  and  detail  in  these  groups  suggests 
the  Orient,  and  tlie  leaves  of  a tropical  plant,  as  well  as  the  character  of  the 
patterns  in  the  decoration,  contribute  to  this  idea. 

As  the  Messrs.  Daniell  worthily  represented  the  Ceramic  Art  of  England, 
so  the  Messrs.  Elkington,  of  Birmingham,  made  a display  of  art-work  in  the 
precious  metals  that  was  sufficient  in  itself  to  give  their  workmen  a place  in 
the  foremost  rank  of  artizans,  the  world  over.  Moreover,  this  firm  did  not 
attempt  to  make  a general  exposition  of  their  wares,  but  confined  themselves 
entirely  to  a collection  of  purely  artistic  and  ornamental  objects  made  especially 
in  honor  of  our  Centennial,  or,  as  in  the  case  of  the  Milton  Shield,  replicas  in 
electro  of  their  most  famous  productions. 

To  the  former  class  belongs  the  Chess  Table,  shown  in  the  engravings  on 
pages  160  and  161.  In  this  superb  work  can  be  seen  an  illustration  of  all  the 
more  notable  branches  of  the  Messrs.  Elkington’s  art  manufacture.  The  shaft 
is  richly  damascened  in  gold  and  silver.  The  medallions  at  the  centre  contain 
groups  of  arms,  trophies,  etc.,  in  repousse-\N ov\s..  The  brackets  are  enameled  in 
purple  and  green  on  a cream-colored  enamel  ground.  The  female  busts  ter- 
minating the  standards  at  the  sides  are  heavily  gilt,  as  also  are  the  feet  and 
masks  at  the  base. 

The  top  of  the  table,  shown  in  section  in  our  second  illustration,  is  a 
marvel  of  workmanship.  Each  square  of  the  board  is  a fine  piece  of  enameling. 


IN DUSTRIAL  ART. 


159 


around  which  is  a border  of  niello-work.  Outside  of  this  again  are  panels 
with  elaborate  patterns  worked  out  in  a gold  tracery,  and  the  interstices  filled 
in  with  brilliant  enamel  colors  of  vivid  hues.  In  the  corners  of  the  table-top 
are  medallions  containing  heads  of  kings  and  queens  and  knights,  executed 
with  the  finish  of  miniature  painting. 


Majolica  Vase:  Daniell  &•  Sons,  London. 


The  chess-men,  of  silver  and  gold-gilt,  are,  in  the  quality  of  the  workman- 
ship, equal  to  the  table,  and  they  are  after  a pattern  "harmonizing  with  it  in 
general  design.  The  beauty  of  this  is  well  shown  by  our  engraving.  It  is 
graceful,  light  and  perfectly  proportioned.  Each  part  harmonizes  with  the 
others,  producing  an  effect  at  once  pleasing  and  satisfying  to  the  eye. 

One  of  the  loveliest  objects  in  the  display  of  Susse  Freres,  in  the  French 
Court,  is  the  small  silver-gilt  bronze  statue  of  Phryxe,  engraved  on  page  163. 


i6o 


THE  INTERNATIONAL  EXHIBITION,  1876. 


The  figure  is  not  more  than  eighteen  inches  high,  but  it  is  modeled  with  such 
perfect  skill  and  finished  in  so  workmanlike  a manner  as  to  claim  attention. 
Looking  at  the  figure — posed  perhaps  as  when  accused  of  atheism,  Hyperides 
secured  her  liberty  by  revealing  her  charms  to  the  gaze  of  the  judges — we 


Chess  Table:  Elkingfon  dr"  Co.,  London. 


recall  her  marvelous  beauty  and  the  great  men  who  esteemed  themselves 
honored  in  her  love,  Praxiteles  deemed  her  worthy  to  be  immortalized  in  his 
statue  of  the  Cnidian  Venus,  and  Apelles  was  inspired  by  her  beauty  when 
painting  his  Venus  Anadyomene.  Artists  in  all  ages  have  sought  to  embody 
her  charms  in  their  ideal,  and  her  fame  will  go  down  to  future  ages,  as  it  has 


INDUSTRIAL  ART. 


i6i 


come  to  us,  as  one  of  the  most  beautiful  of  women.  Living  she  desired  to 
perpetuate  her  memory  as  the  rebuilder  of  the  walls  of  Thebes.  “Alexander 


destroyed  them,  but 
Phryne,  the  courte- 
zan, rebuilt  them,” 
would  have  been  the 
inscription  had  not 
Alexander  refused 
her  offer.  Thebes 
itself  is  now  in  ruins, 
but  the  woman’s  wish 
to  have  undying  fame 
has  been  accom- 
plished. 

Our  next  illustra- 
tion on  page  165  is  a 
Silver  Tankard,  ex- 
hibited by  the  manu- 
facturer, M.  Emile 
Philippe,  of  Paris. 
The  piece  is  pro- 
fusely decorated  with 
conventionalized 
flowers  and  leaves 
raised  from  the  sur- 
face by  the  repousse 
process,  which,  our 
readers  will  have  ob 
served,  is  again  be- 


the  precious  metals 
in  the  manufacture 
of  articles  for  use  or 
ornament. 

The  influences 
which  give  rise  to  that 
which  we  call  “style” 
in  the  construction  of 
anything  are  among 
the  most  curious 
phases  of  civilization. 
1 n modern  times 
France  has  enjoyed 
the  privilege  of  ruling 
our  taste  in  such 
matters,  and  it  is  easy 
to  find  a reason.  Ever 
since  the  days  of 
Francis  the  First,  the 
great  patron  of  art,  a 
long  line  of  luxurious 
monarchs  have  lent 
their  encouragement 
and  patronage  to  the 
decorative  arts.  Royal 
manufactories  were 
established  where  the 
most  skilled  work- 
men, aided  by  the  most 


coming  a fa  V O r 1 t e portion  of  Top  of  chess  Table  : Elkington  Co.,  London. 

manner  of  working 
scientific  men  of  the  day,  executed  the  designs  of  the  first  artists  in  Europe. 
Schools  of  art  were  established  and  munificently  endowed,  where  every  effort 
was  made  to  attain  the  highest  degree  of  perfection.  His  reward  was  in  being 


THE  INTERNATIONAL  EXHIBITION,  1876. 


162 


acknowledged  the  instructor  of  Europe  in  the  decorative  arts  and  the  arbiter 
of  taste.  Of  late  years,  however,  while  France  has  been  prostrated  by  revo- 
lution and  wars,  other  nations  have  enjoyed  profound  peace,  and,  profiting  by 
their  position  and  the  example  set  them,  have  devoted  themselves  to  the 
cultivation  of  the  arts  and  the  formation  of  taste.  The  great  International 
Exhibitions  of  the  world  are  now  doing  more  than  all  other  influences  to 
educate  the  people  and  to  give  them  correct  ideas.  From  these  we  may  hope 
for  better  style,  for  it  is  but  the  expression  of  qualities  influencing  the  com- 
munity. A degraded  taste  and  a vicious  way  of  living  will  as  surely  show 
itself  in  bad  style  as  nobility  and  purity  will  find  expression  in  noble  and  pure 
works.  Every  one  knows  how  the  Renaissance,  beginning  in  France,  swept 
like  a wave  over  Europe ; and  many  who  watch  the  times  believe  that  we 
have  already  entered  upon  another  and  a more  lasting  revival.  Certainly  at 
the  present  moment  there  is  an  uncertainty  not  as  to  what  is  good  as  to  what 
is  best  in  decorative  art  that  suggests  a change  of  some  sort.  The  influence 
of  Japanese  art  is  making  itself  felt  in  Europe  and  in  England,  as  any  one 
walking  through  the  Main  Building  of  the  Exposition  must  have  noticed. 
Even  far-away  Norway,  just  beginning  the  manufacture  of  pottery,  showed 
dishes  decorated  in  imitation  of  Japanese  ware. 

In  domestic  articles  and  articles  of  personal  use  the  influence  of  style  on 
the  individual  and  his  reciprocal  influence  on  art  are  very  marked.  Here  utility 
is  combined  with  ornament,  and  the  just  proportion  between  the  two  makes  a 
pure  style.  In  works  wrought  in  the  precious  metals,  the  labors  of  the  artist 
and  the  artisan  are  brought  very  near  together.  As  long,  however,  as  one 
man  designs  the  work  and  another  has  to  make  it,  the  highest  perfection  will 
not  be  attained.  That  summit  will  not  be  reached  until  the  artist  and  the 
artisan  are  one,  and  then,  and  then  only,  can  a truly  noble  style  be  universal. 

An  example  of  the  silversmiths’  work  in  the  exhibit  made  by  Signor  E. 
Forte  is  the  Silver  Card-Case  illustrated  on  page  166.  It  is  made  of  small 
thread  silver  wires  joined  together  so  as  to  form  those  marvelously  delicate 
and  intricate  patterns  that  are  a peculiar  beauty  in  filigree-work.  The  specimen 
before  us  Is  an  excellent  example  of  this  method.  In  the  centre  is  a ring 
containing  a scroll  branching  out  into  fine  curved  tendrils  as  delicate  as  lace. 
Indeed  filigree  is  to  metal-work  what  lace  is  to  textiles.  From  this  centre, 


INDUSTRIAL  ART. 


1 63 


and  forminor  a circle 

o 

the.  size  of  the  width 
of  the  card-case 
inside  the  border, 
are  other  sheaves 
of  wire  branching 
out  separately  as  in 
the  central  piece,  the 
whole  forming  a ro- 
sette held  together 
by  a net-like  band. 
Beyond  this,  at 
either  end  of  the 
case,  is  a more  elab- 
orate pattern,  having 
for  its  motive  the 
same  curving  lines. 
About  the  edge  a 
wire,  as  fine  as  a 
spider’s  thread,  is 
wound  about  in 
such  a manner  as 
to  make  a border  a 
fourth  of  an  inch  in 
width.  Our  engrav- 
ing is  just  the  size 
of  the  oricrinal  and 

o 

an  exact  copy  of  the 
pattern,  so  that  the 
reader  can  see  for 
himself  how  exqui- 
sitely fine  the  work- 
manship is. 
to  their  exertions  is 


Italy  labored 
under  many  dis- 
advantages in  at- 
tempting to  make  a 
worthy  exhibition  of 
her  arts  and  indus- 
tries at  our  Centen- 
nial. Chief  among 
these  were  the  failure 
of  the  Italian  orovern- 

O 

ment  to  make  any 
appropriation  for 
such  a purpose,  and 
an  apathy  on  the 
part  of  some, 
coupled  with  open 
hostility,  manifesting 
itself  in  absolute  mis- 
representations on 
the  part  of  others, 
who  should  have 
furthered  the  under- 
taking by  every 
means  in  theirpower. 
Nevertheless  there 
were  half  a dozen 
men — and  among 
them  notably  one 
Italian — who  were 
determined  that 
Italy  should  be  pre- 
sent among  the 
other  nations,  and 
due  whatever  of  credit  can  be  claimed  for  the  Italian 


Ph)-yne,  Bronze  : Susse  freres,  Paris. 


164 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


exhibit.  That  it  was  not  representative  nor  worthy  of  the  land  so  rich  in  art 
treasures  will  be  admitted  by  every  one  who  has  visited  its  cities.  In  nearly 
all  the  departments  of  art-production  — for  which  the  Italians  are  famous — • 
the  examples  were  few,  and,  as  a rule,  inferior.  The  display  of  jewelry  was, 
however,  an  exception,  in  that  although  by  no  means  very  large,  it  contained  some 
of  the  choicest  and  most  truly  beautiful  specimens  of  the  goldsmith’s  art  in 
the  whole  exhibition. 

It  is  with  pleasure  we  noted  among  the  articles  exhibited  an  indication  of 
a revival  of  this  art  for  which  Italy  was  once  so  famous.  In  another  portion 
of  the  Exhibition  was  to  be  seen  a collection  of  antiquities,  among  them  personal 
ornaments  in  gold  and  silver,  manufactured  by  the  Etruscans,  Greeks,  and 
Romans,  of  a quality  of  workmanship  and  an  artistic  feeling  incomparably 
superior  to  most  modern  work  in  any  land.  And  in  looking  at  the  displays 
of  the  Italian  jewelers  of  to-day,  that  of  M.  Belezza,  of  Rome,  for  example, 
from  whose  collection  we  have  selected  the  three  Ear-rings,  engraved  on  page 
167,  it  was  evident  that  a desire  to  profit  by  the  lessons  to  be  learned  from 
these  superb  relics  of  a past  perfection  in  the  art  is  influencing  the  modern 
artizan.  We  see  here  that  the  exuberance  and  oriental  magnificence  which  was 
blended  with  the  purer  and  more  refined  Italo-Grecian  school  by  the  metal- 
workers of  the  fifteenth  century  is  being  separated  and  treated  intelligently  by 
the  light  of  our  more  thorough  knowledge.  Indeed,  it  is  doubtful  whether  such 
great  masters  in  metal-work  as  Benvenuto  Cellini  had  any  knowledge  of  the 
traditions  of  the  ancient  schools.  It  would  seem  rather  as  if  their  treatment 
of  the  precious  metals  was  entirely  according  to  their  fancy,  unconscious  of  rule. 
But  the  period  during  which  Cellini  and  his  fellow-artists  worked  was  an 
exceptional  cycle,  and  following  it  came  a season  of  gradual  decay  from  bad 
to  worse,  extending  down  almost  to  the  present  time.  Now,  only  by  a patient 
and  painstaking  study  of  the  rare  and  precious  examples  of  ancient  metal-work 
pursued  in  our  museums  and  private  collections,  can  we  hope  to  attain  to  a 
like  perfection  in  the  art. 

The  English  display  of  furniture  certainly  was  one  of  the  most  interesting 
in  this  court.  Almost  every  modern  style,  original  or  revived,  was  exhibited, 
and  cabinet-makers  vied  with  each  other  in  making  their  stalls  as  attractive  as 
possible.  Thus,  to  show  off  their  furniture  to  the  best  anvantage  and  in 


INDUSTRIAL  ART. 


165 


an  appropriate  manner,  many  exhibitors  had  their  stalls  boarded  up  at  the 
sides  and  ceiled  over,  so  as  to  form  rooms.  These  again  were  papered  or 


draped,  painted  and  carpeted,  in  a manner  appropriate  to  the  articles  of  furni- 
ture to  be  shown.  There  were  bed-rooms,  dining-rooms,  drawing-rooms,  and 


THE  INTERNATIONAL  EXHIBITION,  1876. 


166 


libraries,  with  not  only  the  furniture  proper,  but  pictures,  statuary,  vases,  articles 
of  vertu,  and  bric-a-brac ; in  short,  everything  to  give  a homelike  look  and 
sense  of  occupancy  to  the  apartment. 

Under  these  circumstances  the  articles  for  which  all  these  pains  had  been 
taken  could  be  seen  just  as  they  would  appear  in  actual  use;  and  doubtless 
many  orders  from  purchasers  were  secured  by  the  judicious  and  carefully 
studied  arrangements  that  produced  these  charming  effects. 


Among  these 
“interiors,”  some 
of  the  most  notice- 
able were  those  be- 
lonoring-  to  Messrs. 

o o 

CoLLiNsoN  & Lock, 
OF  London.  Not 
only  the  artistic  ar- 
rangement of  the 
apartments,  but  the 
beauty  and  excel- 
lence of  the  furni- 
ture made  by  this 
celebrated  firm  at- 
tracted many  visit- 
ors to  their  exhibit. 
The  Cabinet  which 


we  engrave  on  page 
168  is  one  of  many 


Card- Case,  Fil't^re  Silver:  C.  Salvo  Sons,  Genoa. 


equally  elegant  ar- 
ticles manufactured 
by  them,  and  may 
be  regarded  as  rep- 
resentative of  their 
refined  taste  and 
the  superior  quality 
of  their  work.  It 
will  be  observed 
that  in  the  vases, 
jars  and  other 
pieces  of  china  ar- 
ranged upon  its 
shelves  is  an  illus- 
tration of  the  man- 
ner we  have  alluded 
to  by  which  the 
furniture  is  set 
off. 


This  cabinet  is  constructed  of  a closely-grained  wood,  ebonized  and  highly 
polished.  The  design  and  carving  are  of  the  simplest  description,  being  a 
return  to  that  old  and  honest  pattern  which  was  driven  out  by  the  rococo, 
bombe  and  other  showy  but  meretricious  styles  introduced  from  France. 

With  the  exception  of  a light  open-work  border  at  the  top,  and  the  bands 
and,  fillets  to  the  rails  and  posts,  the  wood-work  of  this  cabinet  is  perfectly 
plain.  After  the  cabinet-maker’s  part  was  finished  it  was  given  over  to  the 
decorator,  or,  more  probably,  the  cabinet-maker  was  given  the  decorator’s 


INDUSTRIAL  ART. 


167 


finished  work  to  put  in  place.  Be  that  as  it  may,  however,  the  reader  will  see, 
by  looking  at  our  engraving,  that  each  one  of  the  panels  to  the  doors  contains 
a figure  of  some  kind,  either  of  human  beings  or  of  beasts  or  birds.  Further- 
more, the  panels  at  the  back  and  top  are  decorated  with  arabesque  patterns 


Ear-rings  : N.  A.  Belezza,  Rome. 


of  a light  and  graceful  kind,  which  can  be  seen  better  in  the  enlarged  sectional 
view  of  an  end  of  the  cabinet  on  page  169.  All  this  work  is  done  in  color, 
painted  on  by  hand,  and  its  high  artistic  excellence  adds  much  to  the  beauty 
of  the  piece. 

But  the  chief  decorative  feature  in  the  whole  are  the  figure-panels  in  the 
doors,  already  mentioned.  These  are  painted  by  the  artist,  Murray,  who 
stands  at  the  head  of  his  profession  in  England  for  this  kind  of  work.  The 


THE  INTERNATIONAL  EXHIBITION,  1876. 


168 


■iH'iiiiiiiiiii  iii:i 


Cabinet:  Collinson  &>  Lock,  London. 


rV*irr!i[»  n»  in<¥r  t'«’TntiM  mmm  i«%irn**  Mrum  jMMnuni 


R|Bpg 

Ppiil 

1 

y 

four  figures  in  the  doors  of  the  upper  cupboard  represent  the  four  evangelists  ; 
those  below,  others  eminent  in  sacred  history.  They  are  executed  in  a free, 


INDUSTRIAL  ART. 


169 


bold  manner,  with 
strong  color-contrasts 
introduced,  and  each 
one  is  worthy  of  a sep- 
arate and  careful  exam- 
ination, The  birds  in 
the  lower  panels  are  by 
the  same  artist,  and  are 
drawn  with  equal  spirit 
and  vigor,  but  without 
the  same  care  and  in  a 
hastier  manner;  but  the 
color  here  is  perhaps 
even  richer  and  more 
effective  than  in  the 
human  figures.  Alto- 
gether the  work  is  an 
exceedingly  satisfactory 
one,  and  an  admirable 
example  of  a correct 
taste  in  design  and  or- 
namentation, 

French  tapestry  has 
been  famous  ever  since 
the  days  of  Louis  XIV, 
when  Colbert,  his  cele- 
brated minister,  appre- 
ciating the  beauty  of  the 
work  produced  by  the 
brothers  Gobelin,  took 
their  manufactory  under 
his  protection.  The  art 
soon  after  gained  royal 


patronage,  and  the  mag- 
nificent and  costly  pro- 
ductions of  the  Gobelin 
looms  were  the  wonder 
and  admiration  of  the 
world.  In  after  years 
other  factories  were 
started  in  various  parts 
of  France,  and  the  one 
at  Beauvais,  where  the 
examples  illustrated  on 
pages  1 70  and  1 7 1 were 
manufactured,  is  second 
only  to  the  Gobelins. 

Tapestry  has  always 
been  an  expensive  lux- 
ury, and  therefore,  al- 
though its  manufacture 
can  be  traced  back  to  a 
remote  antiquity,  its  use 
has  always  been  limited* 
Tapestries  for  curtains 
and  wall-hangings  were 
used  by  the  Greeks  and 
Romans,  and  we  read  in 
the  Bible  of  a bed-cover- 
ing made  of  painted  ta- 
pestry. As  a material 
for  furniture  upholstery, 
nothing  could  be  more 
elegant  than  this  rich 
textile.  When  it  is  used 
for  this  purpose,  the 


CoUinson  &•  Lock,  London. 

designs  are  made  and  wrought  in  a manner,  as  seen  in  our  illustrations,  calcu- 


THE  INTERN  AT  ION  AL  EXHIBITION,  1876. 


170 


lated  to  adorn  and  to  be  as  much  an  integral  part  of  the  furniture  as  the 
carvino-  on  the  frame. 

o 

The  engravings 
on  pages  172  and 
173  will  be  recog- 
nized by  every  one 
who  visited  the  Ja- 
panese Court  as 
among  the  most  no- 
table objects  in  that 
wonderful  collec- 
tion of  oriental  art. 

These  vases  stand 
about  four  feet  in 
height.  They  are 
made  of  bronze,  a 
favorite  material 
with  the  Japanese 
metal-workers,  who 
are  certainly  un- 
surpassed by  any 
people  in  the  world 
for  originality  of 
design  and  skill  in 
execution.  The  ex- 
amples before  us 
are  excellent  speci- 
mens of  their  pecu- 
liar method.  In  the 
grotesques  at  the 
base  and  in  the 
relief  ornamenta- 
tion on  the  sides  we  see  that  peculiar  exaggeration  and  distortion  of  natural 
objects  which  many  people  prefer  to  the  conventionalism  obtaining  with  Kuropean 


Sofa  ivith  Beauvais  Tapestry : French  Court. 


IN D U ST RI AL  ART. 


171 


artists.  Here,  too,  in  the  elaboration  of  minute  designs  on  the  collars  and  the 
rim  and  in  the  superbly  executed  handles,  we  see  the  evidence  of  a patient, 
painstaking  labor  such  as  only  oriental  workmen  practice. 

d'he  Swinging  Pitcher,  which  forms  the  subject  of  our  illustration  on  page 
1 74,  will  commend  itself  to  every  one  as  a capital  and  novel  idea.  In  this 
country,  where  the  use  of  ice  is  almost  universal,  and  where  it  is  consumed  in 
quantities  that  astonish  foreigners,  ice-pitchers  are  a necessity.  Many  of  these 

that  any  child  can 
swing  or  tip  it  at 
pleasure.  The 
convenience  of 
the  arrangement 
is  obvious.  It 
will  be  observed 
that  this  hand- 
some example  of 
American  inge- 
nuity and  skill  in 
metal- 
working, forms, 
with  the  accompa- 
nying stand,  gob- 
let and  bowl,  a set 
that  will  be  orna- 
mental to  any  side- 
board or  buffet. 

Metal-work  of  another  and  entirely  different  character  is  seen  in  the  beau- 
tiful Wrought-Iron  Gates  illustrated  on  page  175.  This  fine  piece  of  work 
was  one  of  the  exhibits  in  the  English  Court,  where  it  attracted  marked  attention. 
The  design,  without  being  too  complex,  is  sufficiently  elaborate  to  signify  that 
the  gates  are  intended  for  no  mean  use.  They  are  evidently  designed  to  be 
placed  at  the  carriage-entrance  to  some  park  or  gentleman’s  estate,  for  they 
are  suggestive  of  luxury  and  elegance  within.  In  all  the  exhibit  of  English 
wrought-iron  work — and  it  was  one  of  the  best  features  of  the  English  Court — 


are  made  of  sil- 
ver or  plated 
ware,  and  are  of 
considerable  size. 
So  large  are  they, 
in  fact,  that  when 
in  use  their  weight 
is  a serious  objec- 
tion to  them,  an 
objection  which 
this  excellent  in- 
vention does 
away  with  entire- 
ly. Here  the 
pitcher  is  hung  in 
a frame,  which  is 
provided  with  a 
handle  by  which 
to  carry  it,  so 


Chair : !?.  Mazaroz,  Paris. 


I 


172 


THE  INTERNA  TIONAL  EXHIBITION,  1876. 


there  were  few  examples  which  were  comparable  with  these  gates,  either  for 
artistical  design  or  skillful  workmanship. 

From  the  Netherland  department  we  have  selected  for  illustration,  on  page 
176,  one  of  the  superb  carpets  which  were  there  exhibited.  In  elaborateness 
of  design  this  fine  piece  of  work  suggests  the  even  patterns  for  which  the 


Netherlands  are 
so  famous.  The 
border  is  com- 
posed of  flowers 
and  garlands,  dis- 
posed in  a sym- 
metrical manner. 
The  same  general 
design  obtains  in 
the  portion  of  the 
carpet  within  the 
border,  but  here 
the  arrancrement 

o 

is  more  varied. 
The  colors  are 
numerous  and 
bright,  but  of  light 
tints.  Large  me- 
dallions, with 
flower  patterns 
on  a much  dark- 
er and  richer 
ground,  are  dis- 


Vtise, in  Bronte : "Japanese  Court 


posed  at  intervals 
over  the  fabric. 
Some  of  these 
are  joined  to  the 
stripe  which  sep- 
arates the  border 
from  the  rest  of 
the  carpet,  which 
stripe  is  orna- 
mented with  a 
diaper  pattern 
that  is  one  of  the 
prettiest  features 
in  the  design. 

The  most  elab 
orate  piece  of 
work  in  the  ex- 
hibit of  the  Royal 
School  of  Art 
Needlework  was 
the  complete  set 
of  room-hangings 
designed  by  the 


well-known  artist,  Mr.  Walter  Crane,  and  executed  by  the  ladies  of  that  insti- 
tution. This  forms  the  subject  of  our  illustration  on  page  177.  The  material 
of  the  frieze  and  vallance  for  the  portiere  is  white  sateen,  on  which  the  designs 
are  embroidered  in  subdued  shades  of  brown  and  green.  The  frieze  contains 
four  arched  niches  separated  by  columns.  In  the  niches  are  four  female  figures 
emblematic  of  the  arts — Poetry,  Sculpture,  Painting,  and  Music.  Below  these 


INDUSTRIAL  ART. 


173 


is  a vallance,  with  garlands  of  flowers  surrounding  baskets  of  fruits  and  cereals, 
typical  of  Plenty.  Beneath  this  again,  and  above  the  portiere,  is  a panel  on 
which  the  three  Fates — Clothe,  Lachesis  and  Atropos — are  busy  at  their  work 
of  drawing,  spinning  and  cutting  the  thread  of  life.  The  two  curtains  to  the 
portiere  contain  full-length  female  figures,  personifying  the  salutations,  “Vale” 

embroidered  in 
brown  silk,  with 
a light,  graceful, 
foliated  pattern. 
The  borders, 
bands  and  stripes 
separating  the 
several  divisions 
of  the  portiere 
are  conceived  and 
executed  with 
spirit  and  in  ex- 
cellent harmony 
with  the  general 
design. 

A noticeable 
feature  in  the  dis- 
play of  German 
art  pottery,  from 
the  Royal  Porce- 
lain Works  at 
Berlin,  was  the 
number  and  va- 


and “Salve.”  The 
wall-hano-inors  on 

o o 

either  side  are  of 
gold  twill,  em- 
broidered with 
elaborate  designs 
signifying  the  ele- 
ments. These 
hangings  are  by 
far  the  most  ef- 
fective parts  of 
the  whole,  both 
for  contrast  of 
color  and  spirit 
of  design,  and 
they  will  be  found 
worthy  of  careful 
examination.  The 
pilasters  which 
complete  this  re- 
markable set  of 
wall-hangings  are 
of  white  sateen 


Vase,  in  Bronze:  yapariese  Court. 


riety  of  vases  shown.  There  were  specimens  of  the  form  and  styles  of  deco- 
ration obtaining  in  Japan,  China  and  Persia  some  centuries  ago,  with  copies  in 
majolica  of  the  famous  Urbino  ware,  the  handles  formed  of  curiously  twisted 
and  contorted  snakes  and  grotesques.  There  were  also  tall,  slender  amphorae, 
shaped  after  the  manner  of  the  vessels  used  by  the  ancient  Greeks  and  Romans 
for  carrying  wine  and  oil  or  for  preserving  the  ashes  of  the  dead;  while  promi- 


174 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Water- Pitcher : Reed  &=  Barton,  Taunton. 


nent  in  the  collection  were  the  Victoria  vases  with  their  dragon-handles  and 
gracefully  curved  outline,  in  a shape  which  seems  to  be  a favorite  one  at  this 


I N DU  STRIA  L ART. 


175 


time.  Of  these  latter,  the  most  noticeable  was  the  huge  Victoria  vase  par 


Portion  of  Wrought- Iron  Gate:  Barnard,  Bishop  Barnard. 


excellence,  which  occupied  the  place  of  honor,  as  the  central  and  chief  object 
of  the  display.  This  vase  forms  the  subject  of  our  illustration  on  page  178. 


176 


THE  INTERNATIONAL  EXHIBITION,  1876. 


It  stood  about  five  feet  high,  and  was  undoubtedly  one  of  the  most  magnificent 

specimens  of  porcelain 


in  the  whole  Exhibition. 
It  was  not,  however,  as 
many  were  led  to  sup- 
pose, a single  piece  of 
porcelain.  The  bowl,  the 
stand  and  the  band  be- 
tween were  separate  and 
distinct  pieces,  their  line 
of  contact  being  con- 
cealed by  gilt  mouldings. 

The  body-color  of  this 
vase  is  deep  blue  of  sur- 
passing richness  and  bril- 
liancy. The  handles  and 
many  of  the  decorative 
designs  were  in  gilt.  The 
central  medallion  con- 
tains a remarkably  cred- 
itable painting  after 
Guido  Rene’s  “Aurora.” 
The  perfection  to  which 
the  chemically  prepared 
colors  for  paintingon  pot- 
tery have  been  brought 
in  Germany  is  well  ex- 
exemplified  in  this  vase. 

That  most  beautiful  of 
all  textiles — lace — had  a 
very  full  and  complete 
representation  at  the 

Centennial  Exhibition.  All  the  great  centres  of  lace  manufacture  were  repre- 
sented in  the  most  satisfactory  manner,  and  in  many  instances  partially  wrought 


Carpet:  Netherlands  Court. 


INDUSTRIAL  ART. 


177 


ROYAL  SCHOOL 
ART-NIILDLILWOld 


Curtain- Door : Royal  School  of  . irt  Needlework. 


1- 

I 

H 

Iffl- 

irr 

:\ 

1 

specimens  were  exhibited,  showing  the  way  in  which  the  work  was  executed. 
Our  illustration  on  page  179  represents  one  of  the  exquisite  web-like  shawls 


178  THE  INTERNATIONAL  EXHIBITION,  1876. 


that  formed  a 
principal  fea- 
ture of  the 
Belgium  ex- 
hibit. It  is  al- 
most impos- 
sible to  realize 
that  this  fairy- 
like creation, 
with  its  convo- 
luted patterns, 
its  garlands 
and  flowers 
and  ferns,  has 
been  wrought, 
stitch  by  stitch 
and  inch  by 
inch, by  patient 
w o m e n,  fol- 
lowing a pat- 
tern thread  by 
thread.  It  is 
no  wonder 
these  marvel- 
ous produc- 
tions of  the 
lace-makers 
are  esteemed 
by  women  as 
among  the 
greatest  treas- 
ures of  the 
wardrobe, 
are  a goblet 


From  far- 
away Austra- 
lia came  a con- 
tribution t o 
our  Centen- 
nial, admirable 
in  size  and  se- 
lection, which 
illustrated  to 
the  best  ad- 
vantage the 
resources  and 
industries  of 
the  country. 
In  their  ad- 
vancement in 
the  art-indus- 
tries these  en- 
terprising col- 
onists showed 
a remarkable 
progress.  Our 
illustrations  on 
page  1 80  show 
two  pieces  of 
metal-work  as 
graceful  in  de- 
sign and  exe- 
cution as  any- 
thing of  a like 
nature  sent  by 

Aurora  Vase:  Royal  Porcelain  Manufactory,  Berlin.  mOther- 

country.  They 

and  covered  bowl  made  of  ostrich  eggs  mounted  in  silver.  In 


INDUSTRIAL  ART. 


179 


the  accessory  ornaments  to  either  piece,  the  subjects  are  Australian.  In  one 
we  have  the  ostrich,  and  in  the  other  the  kangaroo  ; while  in  both  the  graceful 
tree-fern  is  most  happily  introduced. 


The  illustration  on  page  18 1 represents  a section  of  a lace  curtain,  one  of 
the  examples  of  lace  manufacture  in  Switzerland,  shown  in  the  attractive  display 
made  by  that  industrious  little  republic  in  the  Swiss  Court  in  the  Main  Building. 


Lace  Shawl — Collective  Exhibit  of  Brussels, 


This  kind  of  lace  is  machine-made,  and  it  enjoys  a wide  reputation  for  its 
cheapness  and  excellent  quality.  The  industry  of  lace-making,  which  is  of 
comparatively  recent  introduction  among  the  Swiss  people,  is  as  yet  confined 
to  certain  cantons,  but  it  is  only  a question  of  time  until  it  is  practised  in  the 
others. 

In  the  specimen  before  us,  the  rich-flowing  lines  seem  in  Brussels  lace, 
though,  of  course,  the  two  are  not  otherwise  comparable. 

As,  in  the  consideration  of  the  Industrial  Art  at  the  Exhibition,  we  shall 


i8o 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


have  occasion  to  illustrate  numerous  varieties  of  lace,  it  may  be  of  interest  to 
give  a few  facts  in  explanation  of  this  very  interesting  industry. 

Lace,  or  lacis,  as  it  was  anciently  called,  is  made  of  silk,  cotton  or  linen 
thread,  and  sometimes  even  of  gold  or  silver  wire.  It  is  commonly  divided 
into  two  classes — pillow  and  point.  Pillow-lace  is  woven  with  bobbins  on  a 
cushion  or  pillow,  but  point-lace  is  worked  with  the  needle  on  a paper  or 
parchment  pattern.  All  lace,  whether  point  or  pillow,  may  be  said  to  consist 


Silverware : Queensland  Court. 


of  two  parts — the  ground  and  the  pattern  ; though,  strictly  speaking,  this  is  not 
the  case,  as  in  some  kinds  of  lace  there  is  really  no  ground  at  all,  the  figures 
making  the  pattern  being  joined  together  without  any  intermediate  network. 

The  manner  of  making  lace  differs  in  different  localities,  so  that  the  fabric 
is  generally  known  by  the  name  of  the  town  or  district  where  it  is  manufac- 
tured. But  some  of  the  names  now  in  use  are  simply  traditional  of  kinds  of 
lace  no  longer  manufactured.  In  some  instances,  indeed,  though  specimens  of 


INDUSTRIAL  ART.  iSi 


Lace  Curtain  : Court  of  Switzerland. 


the  work  have  been  preserved,  the  manner  of  making  it  has  been  lost,  and  all 
attempts  to  re-discover  it  have  been  unsuccessful.  The  most  costly  of  all  lace 


i82 


THE  INTERNATIONAL  EXHIBITION,  1876. 


is  that  known  as  Point  d’Alen^on,  so  named  after  the  town  where  Colbert,  the 
famous  minister  of  Louis  XIV,  established  the  lace-workers  whom  he  brought 
over  from  Venice.  It  is  the  most  exquisite  and  elaborate  of  all  fabrics,  being 
made  entirely  with  the  needle.  A writer  in  one  of  the  South  Kensington  Art 
Hand-books,  to  whom  we  are  indebted  for  much  of  our  information  on  this 
subject,  describes  the  way  in  which  this  lace  is  made  as  follows : — 

The  pattern  is  printed  off  on  pieces  of  green  parchment,  about  ten  inches 
long,  each  segment  numbered  in  its  order ; the  pattern  is  then  pricked  through 


Majolica  Flower-Bearers  : Daniell  Son,  London. 


upon  the  parchment,  which  is  next  stitched  to  a piece  of  coarse  linen  folded 
double.  The  outline  of  the  pattern  Is  traced  out  by  two  threads  fixed  by  small 
stitches,  passed  with  another  thread  and  needle  through  the  parchment  and  its 
linen  lining.  When  the  outline  is  finished,  the  piece  is  given  over  to  another 
worker  to  make  the  ground,  which  is  worked  backwards  and  forwards  at  right 
angles  to  the  border.  The  flowers  are  next  worked  in  ; then  follow  the  “modes” 
or  “fillings” — the  open  work  or  fancy  stitches — and  other  different  operations. 
When  completed,  the  threads  which  unite  lace,  parchment  and  linen  together 
are  cut  by  passing  a razor  between  the  folds  of  the  linen,  and  there  remains 
only  the  great  work  of  uniting  the  different  segments  together.  This  process 
devolves  upon  the  head  of  the  fabric,  and  is  effected  by  the  stitch  called 


INDUSTRIAL  ART. 


183 


Carved  Seat:  Ferri  Barialozzi,  Florence. 


184 


THE  INTERNATIONAL  EXHIBITION,  1876. 


“assemblage” — by  us  termed  “fine  joining.”  Point  d’Alengon  is  the  only  lace 
in  which  horse-hair  is  introduced  along  the  edge,  to  give  firmness  and  consist- 
ency to  the  “cordonnet.” 

Point  d’Alengon  and  d’Argenton  are  the  only  needle-made  laces  now  pro- 
duced in  France,  but  the  manufacture  of  pillow-made  laces  is  carried  on  in  the 


Plaque  of  Iron  : Zuloaga  ^ Son,  Madrid. 


provinces  of  Normandy,  Auvergne  and  Lorraine.  The  pillow-lace  made  at 
Valenciennes  is  well  known,  but  it  is  not  generally  understood  that  only  the 
city-made  lace  is  entitled  to  the  name  of  vraie  Valenciennes.  The  blonde  and 
black  silk  even  of  Chantilly  used  to  be  well  known,  but  the  fabric  is  no  longer 
made. 

Brussels  lace  was  famous  for  its  beautiful  patterns  and  the  exquisite 
delicacy  of  its  workmanship.  The  thread  for  the  finest  pieces  of  this  marvelous 


INDUSTRIAL  ART. 


185 


textile  is  made  of  the  flax 
of  Brabant,  spun  by  hand. 
So  fine  is  it  that  it  requires 
to  be  spun  under  ground 
where  the  air  is  absolutely 
motionless. 

Speaking  of  Brabant 
reminds  us  of  Barbara 
Uttman,  the  “benefactress 
of  the  Hartz  mountains,” 
whose  name  is  inseparably 
connected  with  the  history 
of  lace-making  in  Germany. 
This  good  woman  had 
learned  the  art  of  makinor 

o 

lace  upon  a pillow  from  a 
Brabant  workman,  and 
taught  it  to  her  compan- 
ions, the  children  of  the 
miners  in  the  Hartz  moun- 
tains. It  was  from  this 
small  beginning  that  the  in- 
dustry began  and  extended 
throughout  Germany. 

Of  English  lace,  the 
most  celebrated  is  that 
made,  in  Devonshire  where 
the  famous  vale  of  Honiton 
is  situated.  Real 
Honiton  lace  is  some- 
thing like  Brussels 
lace  in  appearance, 
although  the  quality 
is  coarser ; but  the 


modern  “Guipure”  is  great- 
ly inferior  to  the  beautiful 
applied  pillow-made  sprigs 
which  gave  the  Honiton 
fabrics  so  great  a reputa- 
tion. The  lace  known  as 
Point  d’Angleterre  was 
never  made  in  England, 
but  always  in  Brussels.  Its 
name  is  owing  to  the  fact 
that  it  used  to  be  smuggled 
into  EnHand  in  immense 

o 

quantities,  and  boldly  sold 
by  English  merchants  in 
open  market  as  a lace  of 
native  manufacture. 

It  must  have  been  grati- 
fying to  every  one  visiting 
the  Centennial,  who  was 
interested  in  the  welfare 
and  progress  of  this  coun- 
try, to  observe  how  many 
choice  and  beautiful  ob- 
jects of  art  of  foreign  man- 
ufacture were  purchased  by 
Americans.  These  things 
remain  with  us  permanent- 
ly, and  their  benefit  to  the 
community  in  culti- 
vating a correct  taste 
and  a higher  stand- 
ard of  excellence  in 
art  is  simply  incalcu- 
lable. 


Wrought- iron  Flou'cr-Stand : Barnard  Co. 


THE  INTERNATIONAL  EXHIBITION,  1876. 


186 


It  was  curious  to  note  the  astonishment  and  dismay  of  certain  foreign 
exhibitors,  who,  claiming  to  have  consulted  the  American  taste  in  preparing 
their  display,  had  sent  over  gaudy  and  otherwise  inferior  wares.  These  gentle- 


Decorated  Fans:  French  Court. 


men  no  doubt  thought  that  we  were  sufficiently  behind  the  art-culture  of  the 
times  to  be  satisfied  with  this  riff-raff  of  their  shops  ; but  they  quickly  learned 
their  error  and  how  much,  unfortunately  for  their  own  advantage,  they  had 
misjudged  the  average  American  art-knowledge.  It  Is  but  just  to  these  gentle- 


INDUSTRI AL  ART. 


187 


men  to  say  that 
they  willingly 
acknowledged 
their  . mistake; 
and  asked  but 
another  like  op- 
portunity to  rec- 
tify their  error; 
On  the  other 
hand,  those  ex- 
hibitors who  sent 
good  work  found 
ready  and  eager 
purchasers.  Even 
gorgeous  articles 
of  luxury  such  as 
only  princes  in 
Europe  could 
purchase,  were 
sold  to  wealthy 
persons  here; 
and  it  is  safe  to 
say  that  never 
did  foreign  deal- 
ers make  such 
enormous  profits 
as  at  the  Cen- 
tennial. 

Even  in  a na- 
tion like  Eng- 
land, with  which 
we  have  had  such 
intimate  com- 
mercial relations 
for  so  long  a time, 
there  were  ex- 


Dessert  Service  : Meriden  Britannia  Co. 


iS 


THE  INTERNATIONAL  EXHIBITION,  1876. 


hibitors  who  hesitated  and  questioned  whether  it  would  pay  them  to  send  their 
best  wares  to  this  country.  They  were  fearful  that  such  work  would  not  be 
appreciated  as  it  deserved.  One  exhibitor  we  know  of  said  that  he  never 
would  have  dreamed  of  sending  the  really  splendid  collection  he  did  send  if 
it  was  to  have  been  seen  only  by  the  Americans.  But  his  goods  had  always 
been  first  in  the  competition  with  European  manufacturers,  and  he  desired  to 
show  them  that  he  still  maintained  the  lead. 

Doubtless,  too,  many  persons  sent  what  they  did  send  through  a feeling 
of  national  pride ; but  whatever  the  impelling  motive  may  have  been,  one  and 


Enrth  Vessels : Turkish  Court. 


all  united  in  saying  afterward  that  they  found  here  a market  for  their  very  best 
wares,  that  they  found  an  educated,  appreciative  people,  ready  to  pay  liberally 
for  works  of  art. 

The  mistake  which  these  dealers  had  made  was  a very  natural  one.  They 
argued,  and  with  some  show  of  reason,  that  because  we  did  not  produce  art- 
work of  the  highest  character  we  had  no  market  for  it.  They  forgot  that  while 
our  artisans  as  a class  had  not  the  art  educational  facilities  of  their  European 
brethren,  that  our  wealthy  classes  were  constantly  abroad  and  familiar  with  the 
best  examples  of  European  work.  The  time  is  coming,  however,  when  our 
art-workmen  will  be  peers  of  any  anywhere.  All  they  need  is  the  opportunity 
to  see  and  study  the  right  models.  From  the  Eondon  Exhibition  of  1851  grew 


INDUSTRIAL  ART. 


189 


up  the  South  Kensington  Museum  and  the  industrial-art  revival  in  England, 
and  we  are  more  advanced  to-day  than  England  was  then.  Therefore,  taking 


Lace  Parasol  Cover — Collective  Exhibit  of  Belgium. 


our  Centennial  as  an  equivalent  starting-point,  we  may  reasonably  hope  for 
even  greater  results  in  the  next  twenty-five  years  than  England  achieved  in  the 
same  space  of  time. 

That  English  art-workmanship  has  made  a truly  wonderful  advance  in  the 


190 


THE  INTERNATIONAL  EXHIBITION,  1876. 


last  quarter  of  a century  was  abundantly  proven  by  the  rich  and  varied  displays 
in  the  English  Court.  In  no  other  branch  of  industry  was  this  more  noticeable 
than  in  the  ceramics.  The  very  choice  exhibit  of  the  Messrs.  Daniell  alone 
was  evidence  of  this.  Here  were  to  be  seen  the  very  finest  productions  of  the 
potter’s  skill — original  designs  showing  education  in  the  best  schools,  clever 
reproductions  of  famous  fabriqiies,  copies  of  rare  antiques,  and  examples  of  the 
latest  discoveries  in  the  art.  We  have  already  presented  to  our  readers  in 


Necklace  : Belleza,  of  Rome. 


these  pages  illustrations  of  several  of  the  most  noteworthy  objects  in  this  col- 
lection, and  we  now  add  another,  on  page  182,  of  a fine  Majolica  Flower 
Vase,  that  during  the  Exhibition  was  given  a place  of  honor  in  the  aisle  of  the 
Main  Building.  The  vase  is  composed  of  two  scollop-shells,  beautifully  tinted 
within,  and  colored  on  the  outside  with  brown,  graduated  up  to  white,  as  they 
appear  in  nature.  At  either  end  are  two  gracefully  modeled  mermaids,  with 
their  arms  crossed  over  the  breasts.  The  lower  portions  of  the  bodies  are 
intertwined  and  rest  upon  the  base  of  the  vase,  on  which  are  sea-weed  and 
shells.  The  human  part  of  the  figures  is  beautifully  tinted  of  a flesh  color,  the 


INDUSTRIAL  ART. 


191 


lower  portion  imitating  in  color  the  irridescent  skin  of  a fish.  Altogether  the 
work  is  finely  designed  and  executed,  and  it  is  a matter  of  congratulation  that 
it  has  become  the  property  of  one  of  our  citizens. 

The  superb  piece  of  wood-carving  shown  on  page  183  was  exhibited  in  the 
Italian  Court.  It  is  a Hall  Seat,  carved  out  of  black  walnut.  It  exhibits  in 
a very  remarkable  degree  the  advancement  of  skill  attained  in  the  modern 
revival  of  an  art  for  which  Italy  was  at  one  time  world-famous.  Our  readers 
will  find  pleasure  in  discovering  for  themselves  the  many  and  elaborate  beauties 
of  this  elegant  design,  as  the  most  casual  glance  will  show  how  manifold  they 
are.  Yet  we  desire  to  call  especial  attention  to  the  spirited  attitudes  and  fine 


carving  of  the  winged  genii  who  seem  to  be  springing,  crouched,  from  the 
curved  supports  to  the  seat.  The  marks  on  the  arms  are  also  exceedingly 
well  done,  and  the  scroll-work  in  the  panels  should  not  be  unobserved. 

Spain  has  always  had  a great  reputation  for  the  excellency  of  its  metal- 
work, and  especially  for  delicate  intricacy  of  its  damascening.  The  specimen 
which  we  illustrate  on  page  184  is  an  Iron  Shield,  inlaid  with  silver,  from  the 
factory  of  Zuloaga,  at  Madrid.  The  oriental  school  in  which  the  artist  who 
designed  this  fine  piece  of  work  was  educated  is  plainly  apparent  here.  The 
grotesques,  medallions  and  scrolls — the  latter  interwoven  in  a most  bewildering 
way — are  eminently  Moorish.  It  would  be  difficult  to  find  any  more  spirited 
or  gracefully  fanciful  pattern  than  that  in  the  central  zone  of  this  shield. 

A graceful  and  in  every  way  satisfactory  piece  of  metal-work  of  an  entirely 
different  character  is  the  Wrought-Iron  Flower-Stand,  made  by  Barnard, 


192 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Bishop  & Barnard,  of  England,  which  is  illustrated  in  our  engraving  on  page 
185.  The  perfect  simplicity  of  the  design  is  its  chief  beauty.  A light  open 
stand  supports  a shaft  resembling  the  stem  of  a plant,  and  above  a group  of 
delicate  blossoms,  looking  like  modest  little  “Quaker  ladies,”  surround  the  basin 
intended  to  receive  the  flowers.  This  flower-stand  is  decidedly  one  of  the 
prettiest  things  of  the  kind  exhibited  in  the  Exhibition,  and  it  has  the  merit 
of  being  suitable  alike  for  the  lawn,  the  piazza  or  the  drawing-room. 


Epergne  : y.  L.  Lobmeyr,  Vienna. 

It  is  quite  likely  that  the  fashion,  like  so  many  other  luxurious  fashions, 
of  decorating  fans  with  artistic  paintings,  had  its  origin  in  the  luxurious  court 
of  the  Louis.  Certain  it  is,  however,  that  the  fashion  was  and  always  has  been 
most  common  and  carried  to  its  greatest  extreme  in  Erance.  Some  of  these 
are  miracles  of  delicate  workmanship  and  marvels  of  painting.  There  are  fans 
in  some  of  the  European  collections  weighted  with  jewels  and  painted  by  the 
most  noted  artists  of  the  day.  A few  years  ago  there  was  a remarkable 


IN DUSTRIAL  ART. 


193 


revival  of  the  taste 
for  painted  fans — for 
these  ladies’  toys  are 
more  subject  than 
almost  any  others  to 
the  changes  of  ca- 
pricious fashion  — 
and  there  are  at 
present  in  Europe 
many  persons  whose 
entire  time  is  given 
to  doing  decoration 
of  this  kind.  The 
two  specimens  we 
illustrate  on  page 
186  are  charming 
examples  of  this  kind 
of  work.  On  one  is 
a pretty  little  pas- 
toral scene  a la 
Watteau,  and  on  the 
other  is  a design 
symbolizing  the  be- 
trothal of  happy 
lovers.  Both  are 
exquisitely  painted 
and  mounted  in  the 
most  delicate  and 
dainty  manner  pos- 
sible. 

The  Dessert  Ser- 
vice engraved  on 
page  187  is  a speci- 
men of  the  plated  silverware  produced  at  the  manufactory  of  the  Meriden 


Furniture  Silk:  Collective  Exhibit  of  France. 


194 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Britannia  Company.  The  central  piece  is  particularly  rich  and  elegant,  the 
desire  of  the  artist  seeming  to  have  been  to  produce  something  chaste  rather 
than  anything  elaborate.  The  combination  of  glass  with  the  silver  is  happily 
conceived,  and  the  effect  of  these  two  materials  in  conjunction  is  almost 
always  good. 

The  grotesque  Jugs  seen  on  page  188  are  examples  of  Turkish  pottery. 
The  originals  excited  considerable  amusement  among  those  who  saw  them ; 
nevertheless,  perhaps  more  on  account  of  their  novelty  than  for  any  other 


Beauvais  Furniture  Silks. 


reason,  they  were  in  great  demand.  An  exception  to  the  charge  of  grotesque- 
ness must  be  made  for  the  jug  on  the  left  hand,  which  is  beautifully  propor- 
tioned. As  to  the  others,  odd  as  they  appear  measured  by  our  canons  of  taste, 
they  possess  an  individuality  and  freedom  of  design  indicating  genuine  artistic 
feelincr. 

o 

A wonderfully  beautiful  example  of  Belgium  lace-work  was  a Parasol 
Cover,  illustrated  in  the  engraving  on  page  189,  shown  in  the  collective  exhibit 
of  that  country.  The  pattern  is  beautifully  designed.  It  radiates  from  the  centre 
in  a series  of  long  narrow  leaves,  between  which  are  sprays  of  flowers.  Around 
this  is  a zone  of  fine  open-work  surrounded  by  a Vandyke  border  of  great 


I NDUSTRIAL  ART. 


delicacy  and  richness.  The 
skill  of  the  designer  is 
well  shown  in  the  way 
in  which  he  has  manao-ed 

O 

to  distribute  his  design 
evenly  over  the  whole 
surface  of  the  piece,  so 
as  to  avoid  any  sense  of 
crowding  towards  the 
centre,  or  of  sparseness 
towards  the  circumfer- 
ence. 

The  reader  can  see  in  this 
example  how  well  flowers 
and  ferns — but  especially 
the  latter — can  be  used  by 
the  lace-worker  as  sub- 
jects for  his  design.  It 
is,  perhaps,  better  art,  ac- 
cording to  our  modern 
canons  of  taste,  to  con- 
ventionalize natural  ob- 
jects, or  to  make  use  of 
purely  geometric  figures 
in  decoration  of  this  kind. 
But  only  the  captious  and 
hypercritical  will  be  dis- 
posed to  find  fault  with 
a minute  and  faithful 
copying  of  nature  when 
the  result  is  a work  of 
such  exquisite  fineness  and 


Designs  from  Panels  of  Tapestry ; Belgium  Court 


196 


THE  INTERNATIONAL  EXHIB ITION,  i8y6. 


delicacy.  It  seems  curi- 
ous that  the  passion  for 
lace  should  be  carried  to 
such  an  extreme  as  this — 
that,  for  the  mere  pur- 
pose of  display,  a strong 
material,  intended  for  ex- 
posure to  the  weather, 
should  be  protected  (?) 
by  a covering  made  of 
the  most  delicate  and 
costly  of  all  textiles. 

The  examples  of  jew- 
elry shown  on  page  19 1 
are  taken  from  the  col- 
lection in  the  Italian 
Court.  One  is  from  Sig- 
nor  Castellani’s  remark- 
able exhibit  of  reproduc- 
tion of  antique  designs 
and  methods  of  orna- 
menting metal  by  the  use 
of  granulated  gold,  and 
the  other  is  more  prop- 
erly a finely  chased  set- 
ting for  the  magnificent 
matched  jewels  that  it 
contains,  from  the  estab- 
lishment of  M.  Bellezza, 
AT  Milan. 

Quite  a triumph  in  the 
art  of  glass  manufacture 
is  illustrated  in  the  Or- 
namental Vase  engraved 


Bronze  Standard : Mitchell,  Vance  dr’  Co.,  N.  Y. 


on  page  192,  from  the 
establishment  of  Lob- 
MEYR,  IN  Vienna.  This 
remarkable  piece  shows 
the  newly  re-discovered 
process  of  enameling 
with  glass  on  glass.  The 
outer  surface  of  the  vase 
is  of  a brilliant  red  enam- 
el, the  pattern  being  cut 
through  to  the  crystal 
beneath.  The  ornamen- 
tation on  the  base  is  a 
combination  of  chasing 
and  gilding  very  rich  in 
effect,  while  the  figures, 
of  clear  white  glass,  are 
treated  in  such  a manner 
as  to  deaden  the  lustre 
and  enable  the  contours 
of  the  body  and  the  lines 
of  the  drapery  to  be  more 
easily  distinguished. 

Within  the  past  quar- 
ter of  a century  an  aston- 
ishing impulse  has  been 
given  to  the  art  of  de- 
signing by  the  adoption, 
in  almost  every  part  of 
Europe,  of  courses  of 
instruction  in  drawing 
in  the  lower  grades  of 
schools.  France  has 
always  recognized  the 


INDUSTRIAL  ART. 


197 


importance  of  this 
knowledge ; but  even 
in  that  country  the 
education  of  children 
according^  to  a scien- 
tific  system  has  been 
largely  improved  and 
elaborated  within  the 
last  two  decades.  The 
importance  of  a know- 
ledge of  drawing  and 
instruction  in  the  cor- 
rect principles  of  de- 
sign, in  a commercial 
or  purely  utilitarian 
point  of  view,  can 
hardly  be  overesti- 
mated. England,  af- 
ter  the  Exhibition  of 
1851,  was  persuaded 
with  some  difficulty  to 
try  the  experiment  of 
introducing-  such  in- 
struction  into  the  pub- 
lic schools  and  pro- 
viding institutes  for 
more  advanced  study, 
and  the  result  has 
been  such  as  to  si- 
lence the  most  bigot- 
ed opponents  of  the 
scheme.  That  nation, 

costly  fabrics,  where  elaborate  decoration  is  appropriate, 
have  all  the  beauty  of  painting.  Take,  for  e.xample,  the 


Bronze  Stand  and  I'ase  : Collective  Exhibit  of  France. 


from  being,  next  to 
the  United  States,  at 
the  foot  of  the  list,  as 
far  as  industrial  art 
was  concerned,  in  the 
earlier  International 
Exhibitions,  soon  rose 
to  a first  rank.  Our 
country  is  still  at  the 
bottom,  and  will  re- 
main there  until  some 
such  system  of  educa- 
tion in  designing  as 
obtains  in  England  is 
introduced  into  our 
primary  and  higher 
grade  of  schools. 

As  an  evidence  of 
the  artistic  skill  which 
France  applies  to  her 
industries,  we  have 
only  to  observe  the 
wonderful  variety  and 
beauty  of  the  designs 
that  adorn  her  tex- 
tiles, the  brilliant  con- 
trasts of  color,  the 
harmonious  blending 
of  tints  and  shades, 
and  the  grace  and 
elegance  of  the  pat- 
terns. On  the  more 
some  of  the  designs 
specimen  of  Furni- 


THE  INTER  NATIONAL  EXHIBITION,  1876. 


198 


TUj<E  Silk  from  the  Collective  Exhibit  of  France,  shown  on  page  193.  The 

two  groups  in  the  medal- 
lions are  the  work  of  an 
artist.  Indeed,  it  is  more 
than  likely  that  as  elab- 
orate and  varied  a design 
as  this  is  the  work  of 
several  hands.  Probably 
one  man  designed  the 
scroll -pattern,  another 
filled  in  the  wreaths  of 
flowers  and  leaves,  and 
a third  furnished  the 
figures.  It  is  quite  com- 
mon in  Europe,  in  the 
I larger  establishments,  to 

i divide  the  work  in  this 

way  among  the  special- 
! ists,  whose  talents  are 

• directed  and  combined 

by  the  chief  draughts- 
man. 

Other  examples  of 
French  Furniture  Silk 
are  illustrated  on  page 
194.  These  came  from 
the  famous  factory  at 
Beauvais,  and  although 
the  patterns  are  very 
much  less  elaborate  than 
the  former  specimen,  they 
are  fully  as  good  designs. 
The  specimen  on  the  right  hand  of  the  page  is  a particularly  effective  piece 
of  work.  The  plant  has  been  conventionalized  with  such  skill  that  each  phase 


INDUSTRIAL  ART. 


199 


and  aspect  of  its  life  has  been  preserved,  and  leaf,  bud,  blossom,  and  flower 
introduced  with  excellent  effect. 

Still  another  illustration  of  design  applied  to  textiles  is  seen  in  the  beau- 
tiful Tapestries  from  the  Belgium  department,  engraved  on  page  195.  Here, 
indeed,  the  character  of  the  work  is  of  such  a high  degree  of  excellence  that 
it  is  brought  within  the  sphere  of  the  fine  arts,  and  might  properly  be  con- 
sidered under  that  head.  It  is  by  such  combinations  as  these,  where  the  genius 


Necklace  and  Ear-rings  : A.  Castellani,  Rome. 


of  the  artist  unites  with  the  skill  of  the  artisan  to  produce  things  of  beauty, 
that  the  aesthetic  taste  and  the  commercial  prosperity  of  a country  minister  to 
and  advance  each  other. 

No  more  striking  illustration  of  the  demand  which  modern  civilization 
makes  for  the  introduction  of  artistic  elegance  into  objects  of  every-day  use 
could  readily  be  found  than  in  the  matter  of  gas-fixtures.  So  far  has  this 
demand  been  carried  in  this  instance  that  the  original  purpose  seems  often  to 
have  been  lost  sight  of  entirely,  and  use  been  made  subservient  to  beauty. 
For  all  purposes  of  illumination,  the  simple  gas  tube  answers  every  require- 


200 


THE  INTERNATIONAL  EXHIBITION,  1876. 


ment ; but  fashion  has  decreed  that  this  tube  shall  be  twisted  into  coils  or  hidden 
under  ornamentation  of  a more  or  less  elaborate  nature.  Year  by  year  fresh 


The  Queef?'s  Curtivin  : Royal  School  of  S'ctdlewoyk. 


devices  have  been  called  for,  until  at  the  present  time  it  seems  as  if  we  had 
reached  a point  beyond  which  it  will  be  impossible  to  advance.  Not  content 
with  reproducing  in  bronze  the  most  celebrated  statues  of  ancieat  Greece  and 


INDUSTRIAL  ART. 


201 


Rome,  and  making  them  our  light-bearers,  the  skill  of  our  artists  is  employed 
to  model  figures  that  in 


character  and  pose  will  be 
appropriate  for  this  use. 

One  of  these  latter,  ex-- 
hibited  by  i\I  itch  ell, 

Vance  & Co.,  of  New 
York,  forms  the  subject 
of  our  illustration  on  page 
196.  It  represents  a draped 
female  figure,  bearing  on 
her  shoulder  one  of  those 
graceful  amphorae,  or  wine- 
jars,  from  the  mouth  of 
which  spring,  plant-like, 
the  gracefully  curving 
branches  of  the  candelab- 
ra. Candelabra  it  is  but 
in  name,  however,  for  the 
seeming  candles  are  but 
clever  imitations  of  those 
once  necessary'  articles. 

These  modern  imitations 
burn  without  diminution  to 
their  length.  The  figure 
rests  upon  an  elaborate 
pedestal  highly  ornament- 
ed with  scroll-work  and 
boars’  heads  in  relief,  the 
whole  being  designed  as 
a standard  for  a hall  or 
drawing-room,  where  it 

will  serve  at  once  the  double  purpose  of  a thing  of  use  and  an  object  of 
beauty. 


Portions  of  I ace  Shan'is  : S-.viss  Court. 


202 


THE  INTERNATIONAL  EXHIBITION,  iSj6. 


There  is  something  peculiarly  oriental  in  the  Bronze  Stand  and  Vase  that 
we  engrave  on  page  197,  and  there  can  be  little  doubt  that  the  French  artists 
by  whom  it  was  made  had  the  modern  taste  for  Eastern  art  in  mind  when 
this  group  was  designed.  The  vase  is  a singularly  beautiful  work  of  art,  and 


its  workmanship  is 
faultless.  The  rais- 
ed ornamentation 
upon  the  handles 
and  the  chasing  on 
the  zone  about  the 
body  are  minutely 
elaborated.  It  was 
a novel  thought  to 
make  the  elephants’ 
trunks  serve  as 
standards  to  the 
base, and  one  which 
at  once  suggests 
the  French  origin 

O 

of  a work  that 
in  other  respects 
closely  follows  Chi- 
nese or  Japanese 
models. 

A work  which 
attracted  consider- 
able attention  in 
the  French  Court 
was  the  beautiful 
and  elaborate 


Pitcher:  French  Collective  Exhibit. 


Altar  Cloth 
shown  in  our  en- 
graving on  page 
198.  A study  of 
this  very  remark- 
able piece  of  em- 
broidery will  am- 
ply repay  the 
reader,  who  must 
be  ignorant  indeed 
if  he  fails  to  dis- 
cover the  analogy 
of  the  parts  and 
their  illustration  of 
the  sacred  story. 
It  cannot  be,  when 
such  work  as  this 
is  executed,  that  the 
days 

“When  art  was  still  religion” 

have  passed  be- 
yond recall. 

Our  illustrations 
on  page  199  take 
us  back  to  a time 
when  the  workers 


in  precious  metal  executed  objects  that  have  been  the  wonder  and  the  admira- 
tion of  all  succeeding  generations.  The  objects  themselves  are  of  modern 
manufacture,  yet  so  closely  do  they  imitate  the  antique  originals  that  only  such 
connoisseurs  as  their  maker.  Signor  Alessandro  Castellani,  of  Rome,  would  be 


INDUSTRIAL  ART. 


203 


able  to  detect  the  difference,  if  any  there  is,  in  the  texture  of  the  gold  or  the 
fineness  of  the  workmanship.  As  long  as  Europe  has  workmen  who  possess 
the  art-knowledge  and  the  skill  requisite  to  produce  such  works  as  these,  there 
is  no  danger  of  the  jeweler’s — or,  more  properly  speaking,  the  goldsmith’s — art 
degenerating.  The  study  of  the  forms  and  the  re-discovery  of  the  methods 
which  obtained  among  the  artisans  in  the  best  period  of  metal-working  is  rapidly 
gaining  for  goldsmiths  of  the  present  age  a first  rank  among  artists. 


The  Queen’s  Cur- 
tain, from  the  Roy- 
al School  of  Art 
Needlework,  shown 
on  page  200,  is  so 
called  because  Her 
Gracious  Majesty, 
the  Queen,  designed 
the  pattern  with 
which  the  border  of 
the  curtains  and  the 
vallance  above  are 
embroidered.  It  is 
a charming  piece  of 
work  in  itself,  but 
it  is  chiefly  note- 
worthy for  the  ex- 
ample thus  set  by 
Her  Majesty  to 


Amphora  : Snsse  Freres,  Paris. 


women  throughout 
the  realm  to  employ 
their  leisure  in  re- 
fining and  elevating 
pursuits. 

We  illustrate  on 
page  201  two  more 
examples  of  Swiss 
lace-work  that  may 
be  profitably  studied 
in  connection  with 
the  specimens  illus- 
trated a few  pages 
back.  The  designs 

O 

here  shown  are  much 
more  elaborate  than 
the  former  ones,  and 
represent  a different 
quality  and  manner 


of  workmanship.  These  specimens  have  an  additional  interest  also,  in  that  in 
the  motive  for  the  design  we  can  trace  some  of  the  delicate  ferns  and  flowers 

o 


of  Switzerland,  which  the  artist  has  grouped  together  with  rare  and  exquisite 
skill. 


From  the  exhibit  of  Susse  Freres,  whose  choice  collection  of  works  of  art 
in  the  French  Court  attracted  many  visitors,  we  have  selected  for  illustration 
the  Brass  Amphora  engraved  on  page  202.  This  splendid  piece  of  metal-work 
was  one  of  the  most  remarkable  objects  in  their  collection.  In  design  it  is  at 


6^  Hamlin  Co, 


Organ:  Al-tso/i 


INDUSTRIAL  ART. 


205 


Portion  of  Lace  Kobe  : Collective  Exhibit  of  Brussels. 


once  elegant,  graceful  and  spirited.  The  modeling  of  the  figures  forming  the 
handle  is  particularly  fine,  and  the  repousse  work  on  the  zone  around  the  body 
of  the  piece  is  of  the  most  finished  and  artistic  description.  It  is  from  the 


2o6  the  international  exhibition,  i8-j6. 


exhibition  of  such  objects  as  this,  and  the  stimulus  thus  given  to.  our 


Group  of  Silver-ware : Elkivgton  &•  Co. 


Lpergne  : Elkington  &=  Co- 


own 


artisans  to  emulate  their  foreign  brethren,  that  we  can  hope  to  derive  lasting 
benefit  from  the  Centennial. 


INDUSTRIAL  ART. 


207 


Another  Amphora,  also  of  French  workmanship,  which  we  engrave  on 


page  203,  may  be 

taken  as  an  illus- 

11 

LIN  Org.\n,  engrav- 
ed on  page  204. 

tration  of  similar 

We  cannot  give 

results  of  a study 

our  readers  any 

of  classical  models. 

adequate  idea  of 

Here  are  two  ar- 

_ --  d ; ^ 

the  volume  or  the 

tides  designed  by 

purity  of  the  sound 

different  artists  in 

that  issued  from 

different  manufac- 

this  organ,  but  they 

tories,yetboth  bear- 

can  judge  for  them- 

ing  a certain  gen- 

selves  from  ouren- 

eral  resemblance 

graving  how  beau- 

and  the  stamp  of 

tifully  the  music 

antique  methods. 

was  enshrined. 

This  piece  differs 

Just  as  organ  mu- 

from  the  former  in 

sic  suggests  lofty. 

that  it  is  composed 

noble  and  grand 

of  bronze  and  white 

themes,  so  the  in- 

metal,  the  latter 

strument  itself 

being  used  for  the 

should  be  built  on 

medallions  on  the 

noble  lines,  without 

body  and  the  orna- 

any  of  the  small 

mentation  of  the 

detail  that  can  be 

handles,  thus  pro- 

applied  with  pro- 

ducinor  a rich  and 

0 

priety  to  instru- 

striking  contrast. 

ments  of  lower 

An  object  that 

range.  The  organ 

attracted  the  atten- 

before  us  seems  to 

tion  of  the  ear  as 

embody  this  idea. 

well  as  the  eye  was 

Bronze  Lamp  : French  Court. 

It  is  a grand  and 

the  Mason  & Ham- 

massive  design,  in 

harmony  with  the  music  which  will  issue  from  its  pipes. 

The  engraving  on  page  208  represents  a Punch  Bowl  and  Goblets, 


208 


THE  INTERNATIONAL  EXHIBITION,  i8y6. 


exhibited  by  the  Middletown  Plate  Company,  of  Connecticut.  It  has  been 
the  aim  of  the  artist,  in  designing  this  group,  to  embody  and  typify  the  jovial 
spirit  and  sense  of  good  fellowship  that  accompanies  the  use  of  such  objects. 
The  bowl,  a noble,  generous  one  in  size,  is  decorated  with  scrolls  and  medal- 
lions, in  which  the  grape-vine  in  leaf  and  fruit  appears.  At  either  end  are 


Punch  Bowl  and  Cups : Middletown  Plate  Co. 


miniature  bottles  and  goblets.  The  cover  is  surmounted  with  a little  Bacchus 
seated,,  as  god  of  the  revels,  astride  a bottle,  upon  a cushion  of  vine-leaves. 
Two  other  jolly  little  fellows,  mounted  in  like  manner,  whip  their  steeds  towards 
each  other  from  either  end  of  the  salver,  on  which  the  bowl  and  goblets  rest. 
These  goblets,  like  their  neighbor,  the  bowl,  suggest  by  their  size  a generous 


A 


INDUSTRI AL  ART. 


209 


supply  of  liquor,  and  the  vine-leaf  and  grape  with  which  they  too  are  adorned 
indicate  what  the  brew  should  be.  Next,  perhaps,  after  the  border  around  the 
edge  of  the  bowl,  which  is  exceedingly  graceful  and  pretty,  the  figures  of  the 
Bacchi  are  the  most  notable  features  in  this  group.  They  are  well  modeled, 
and  the  upper  one  especially  is  full  of  life  and  action  in  his  pose.  It  is  a 
question  whether  the  bowl  would  not  have  looked  fully  as  well  without  the 


Tazza  : Emil  Philippe,  Paris. 


upright  bottles  and  goblets  at  either  end  of  it ; but  it  is  not  likely  that  those 
who  enjoy  the  punch  will  be  critical,  and  an  envious  judgment  may  be  imputed 
to  us  who  have  to  be  content  with  simply  gazing  at  the  receptacle. 

On  page  205  we  engrave  a very  rich  example  of  Brussels  lace  selected 
from  the  collective  exhibit  of  Belgium.  This  fine  piece  illustrates  in  an  admirable 
manner  the  beauty  of  the  patterns  for  which  the  Belgium  lace-workers  have 
long  been  famous.  It  will  be  observed  that  here,  as  in  other  instances,  plant- 


210 


THE  INTERNATIONAL  EXHIBITION,  1876. 


life  furnishes  the  motive  for  the  design,  and  that  the  fern,  the  most  delicate 
and  graceful  of  plants,  is  chosen;  for  delicate  as  are  the  veinings  and  mark- 
ings of  the  fern-leaf,  it  is  possible  for  the  lace-maker  to  copy  each  line  with 
minute  fidelity.  But  in  order  to  make  such  a design  as  this  before  us,  some- 
thing more  than  the  ability  of  the  copyist  is  required.  It  is  necessary  that  the 
artist  should  have  power  to  throw  into  his  work  that  semblance  to  nature,  that 
life-like  appearance  without  which  the  most  finished  work  is  hard  and  cold  and 
unsatisfactory.  Look  carefully  at  the  design  here ; see  how  gracefully  and 
easily  each  group  combines  with  the  others,  and  how  harmonious  is  the  effect. 


Group  of  Vases  : German  Court. 


No  two  groups  are  alike,  though  the  same  motive  inspires  all,  and  a finish  is 
given  to  the  whole  by  a tiny  spray  of  ivy  uniting  the  groups  together. 

It  is  possible  that  the  ancient  Greeks  and  Romans  practised  a luxury  and 
lavishness  in  living  that  will  never  be  equaled  in  any  land  or  in  any  century. 
They  studied  the  art  of  ministering  to  the  pleasure  of  the  senses  by  every 
possible  means  until  they  had  brought  it  to  a supreme  point;  and  as  objects 
of  sensual  beauty,  the  relics  of  that  age  will  always  serve  as  models.  It  is  no 
wonder,  therefore,  that  in  the  present  revival  of  taste,  the  artist  seeks  his 
inspiration  from  these  sources,  or  that  the  connoisseur  finds  an  intellectual 
pleasure  in  studying  his  work.  To  the  antique  beauty  of  form,  our  modern 


Mantelpiece : Cox  Sons,  London. 


212 


THE  INTERNATIONAL  EXHIBITION,  1876. 


workman  adds  a refinement  of  treatment  appropriate  to  our  modern  require- 
ments and  habits  of  thought,  producing  ornamental  works  of  exquisite  design. 
Take,  for  example,  the  Epergne  and  the  group  of  Table  Ornaments  from  the 
manufactory  of  the  Messrs.  Elkington,  at  Birmingham,  Engl.\nd,  that  we  illus- 
trate on  page  206. 

What  more  graceful  object  as  an  ornament  to  a table  could  be  desired 
than  this  first-named  piece  ? As  an  example  of  fine  metal-work  it  is  simply 
superb.  The  sides  are  inlaid  or  damascened  with  medallions  and  scroll-work ; 
at  the  corners  are  winged  genii,  half  human,  half  animal ; and  the  surface  of 
the  base  is  of  polished  steel,  reflecting  back  the  shapes  of  the  flower-vases  that 
rest  upon  it.  From  the  midst  rises  a tripod,  terminating  in  draped  female 
figures  supporting  the  central  vase  and  the  crowning  group  of  Loves  and  Fame. 

In  the  second  illustration  we  have  a group  of  five  pieces,  designed  after  a 
favorite  classic  pattern.  Here  the  legs  of  satyrs,  surmounted  by  a satyr’s  head, 
form  the  support,  and  an  open  scroll-work  of  a simple  pattern  fills  up  the 
intervening  space.  Below,  upon  the  base,  a lamp  is  introduced,  and  the  resem- 
blance of  the  whole  to  a sacrificial  vase  is  heightened  by  the  shallowness  and 
general  shape  of  the  dishes  supported  by  the  standards.  Without  being  exactly 
the  same  in  design,  the  resemblance  of  shape  in  these  pieces,  each  to  the  other, 
is  quite  sufficient  to  indicate  that  they  all  belong  to  one  set  or  group  of 
ornaments. 

An  example  of  metal-work  of  more  than  ordinary  richness  is  the  Bronze 
Lamp,  one  of  the  exhibits  in  the  French  Court,  shown  on  page  207.  In  the 
elaborateness  of  its  ornamentation  and  the  intricacy  of  its  design  it  resembles 
some  of  the  gorgeous  objects  of  art  that  were  produced  in  the  days  of  Louis 
Ouatorze.  From  a leaf-covered  base  rises  a bowl  banded  with  ribbons  and 
scroll-work  in  low  relief.  In  the  centre  is  a medallion  of  a lady,  with  a legend 
after  the  manner  of  Roman  amatorii — “La  Romana  Noblissima.”  On  the  second 
member  of  the  lamp  are  bunches  of  flowers  and  fruits,  from  which  rise  scrolls 
and  bands  encirclino-  the  neck  and  twininor  about  the  masks  that  ornament  its 

o o 

upper  portion.  The  most  noteworthy  feature  in  the  whole  are  the  handles  of 
the  lamp,  composed  of  winged  caryatides,  freely  and  boldly  modeled,  the  drapery, 
from  the  waist  downward,  shading  off  and  blending  into  the  scroll-work  around 
the  bowl.  The  whole  desiofn  in  this  work  is  conceived  in  a manner  of  oriental 


INDUSTRIAL  ART. 


213 


richness,  and  die  deep,  warm  color  of  the  bronze 
the  effect. 

A pleasing 
wall  ornament, 
and  one  which 
from  its  intrinsic 
beauty  and  merit 
will  never  be- 
come tiresome  to 
the  possessor,  is 
the  Tazza,  man- 
ufactured by 
Emile  Philippe, 

OF  Paris,  that  we 
engrave  on  page 
209.  The  de- 
sign is  one  of 
those  happy  com- 
binations of  the 
grotesque  with 
the  natural,  in 
whichFrenchart- 
ists  delight  to  in- 
dulge their  fancy. 

The  central  fig- 
ure is  a cupid, 
borne  aloft  by 
winged  monsters 
with  the  body  of 
a bird  and  the 
head  of  a beast, 
while  above  him 

wrought  in  metal  for  the  delectation  of  those  who  can 
whose  only  use  is  to  please  and  amuse. 


metal  adds  greatly  to 

is  a device  sug- 
gestive of  a 
crown.  Below 
are  cocks’  heads, 
terminatinor  in 

scroll-work.  On 
the  border,  or 
rim,  is  a spirited 
and  beautiful  de- 
sign of  leaves 
and  flowers, 
drawn  with  a 

$ 

free,  bold  hand 
and  much  artistic 
elegance.  At 
their  junction 
above  is  a satiric 
mask  of  fine  exe- 
cution. If  the 
utilitarian  asks 
what  such  a de- 
vice as  this 
means,  or  what 
is  the  good  of 
it,  he  will  be  baf- 
fled. It  is  not 
an  object  of  use, 
but  of  ornament, 
a brilliant  bit  of 
fanciful  design 
find  pleasure  in  objects 


214 


THE  INTERNATIONAL  EXH IB ITION,  1876. 


Aside  from  the  exhibit  of  the  Royal  Porcelain  Works,  Germany  made 
but  a small  and  unsatisfactory  show  of  pottery.  Many  of  her  most  noted 
factories  were  unrepresented,  and  some  of  her  most  famous  wares  were  not  to 
be  seen.  The  small  collection  of  that  peculiar  kind  of  stoneware,  of  a mouse- 
colored  body  with  ornamentation  in  blue  relief — this  is  but  a general  description, 
to  which  there  are  exceptions — was,  however,  mostly  made  up  of  choice  examples. 
The  three  pieces  that  we  engrave  on  page  210  are  of  this  description.  They 
are  all  good  copies  of  antiques  and  excellent  pieces  of  workmanship.  The 
vase  on  the  left  hand  is  particularly  remarkable  for  the  fine  modeling  of  its 
figures  in  relief,  and  that  on  the  right  for  its  graceful  lines.  The  centre  piece 
is  of  a more  oriental  character,  and  is  equally  good  in  its  way.  Although  this 


Portion  of  Gold  Necklace : Egyptian  Court. 


Style  of  vase  was  not  new  in  this  country,  this  collection  attracted  considerable 
attention,  and  every  piece  was  purchased  long  before  the  Exhibition  closed. 

The  superb  Mantelpiece  from  the  collection  of  Messrs.  Cox  & Son,  Eng- 
land, seen  on  page  21 1,  is  an  admirable  illustration  of  the  advance  in  art-culture 
and  art-workmanship  that  has  been  made  in  that  country  during  the  last  quarter 
of  a century.  The  wrought  metal-work,  the  tiles,  the  painted  panels  in  the 
entablature,  the  diapered  patterns,  the  thorough,  workmanlike  construction  in 
the  wood-work,  each  and  all  are  an  outgrowth  of  the  revival  in  industrial  art 
matters  began  in  1852.  It  is  a substantial,  massive  design,  correct  in  principle 
and  most  artistically  executed.  The  materials,  too,  are  not  of  an  expensive 
nature ; and  if  the  piece  is  costly,  the  price  asked  simply  indicates  the  demand 
for  skilled  and  trained  labor  and  artistic  design.  There  is  no  reason  why  just 
such  works,  equally  good  in  every  respect,  should  not  be  made  in  this  country; 


INDUSTRIAL  ART. 


215 


and  provided  exorbitant  prices  are  not  asked,  there  will  always  be  a sale  for 
them  here. 

The  fashion  of  having  plants  growing  in  our  houses  is,  notwithstanding 
the  warning  of  physicians,  a commendable  one.  The  trouble  is  to  keep  them 
alive ; for  the  dry,  furnace-heated  air  that  we  breathe  is  more  fatal  to  their 
health  than  to  ours.  But  a portable  box  that  can  be  transported  from  one 
room  to  another  overcomes  this  trouble  in  a great  measure,  and  renders  it 
comparatively  easy  to  keep  plants  growing  in  the  house  during  the  entire 


Porcelain  Tea  Service : Royal  Porcelain  Factory  of  Berlin. 


winter.  The  Jardiniere  that  we  illustrate  on  page  213  is  as  graceful  and 
pretty  a device  of  this  kind  as  need  be  desired.  It  is  the  work  of  Reed  & 
Barton,  of  Taunton,  Mass.,  and  is  so  artistic  that  even  if  it  is  not  used  for  the 
purpose  for  which  it  is  designed,  it  will  always  be  a charming  ornament 

in  itself. 

On  page  214  we  engrave  a section  of  a wonderful  Gold  Necklace,  from 
the  Egyptian  Court,  that  shows  the  peculiar  characteristics  of  that  school  of 
design.  The  reader  will  observe  the  entire  absence  of  scrolls  and  interwoven 

patterns,  and  the  straightness  of  the  lines.  Yet  whatever  it  may  lack,  to  our 

eyes,  in  elaborateness  of  design,  is  made  up  in  the  workmanship,  which  is 

astonishingly  fine  and  minute.  The  very  simplicity  and  severity  of  the  device 
will  probably  recommend  this  necklace  to  the  esteem  of  many. 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Among  the  minor  works  of  art  exhibited  by  the  Royal  Porcelain  Works 
Germany  were  dinner-  and  tea-services  of  an  infinite  variety  of  shapes  and 


Group  of  Venetian  Glassware : Y.  &•  L.  Lobmeyr. 


INDUSTRIAL  ART. 


217 


Cashmere  Shawl  frovi  Saxony. 


patterns.  One  of  the  most  beautiful  of  the  latter,  a porcelain  Tea  Service  of 
four  pieces,  we  engrave  on  page  215.  Though  each  of  the  pieces  is  noteworthy 


2i8 


THE  INTERNATIONAL  EXHIBITION,  iSj6. 


in  its  way,  the  central  figure,  the  pitcher,  will  attract  the  most  attention,  both 
for  its  graceful  shape  and  for  the  decorative  and  ornamental  work  displayed 
upon  it.  


We  cannot  hope 
to  convey  to  the 
reader  any  ade- 
quate idea  of  the 
brilliancyand  rich- 
ness of  the  color- 
ing in  the  group 
of  ornamental 
Glass-ware  which 
we  have  engraved 
on  page  2 1 6.  The 
pieces  are  from  the 
famous  factory  of 
Lobmeyr,  of  Vi- 
enna, and  are 
characteristic  of 
the  wonderful  pro- 
ductions of  that 
city.  Here  is  opal- 
escent glass,  cut 
crystal,  glass 
blown  to  the  thin- 
ness of  paper,  col- 
ored enamels  and 
gold  intertwined 
together  in  the 


Bronze  Vase  : Spanish  Court. 


most  marvelous 
way,  and,  in  short, 
illustrations  of  the 
latest  discoveries 
in  the  art — an  art, 
by  the  way,  that 
seems  in  a fair 
way  of  recover- 
ing, during  the 
present  century, 
the  processes  of 
glass  manufacture 
that  have  been 
lost  for  hundreds 
of  years. 

Nowhere  else 
in  the  world  has 
the  art  of  com- 
bining gorgeous 
color  and  brilliant 
design  been  car- 
ried to  such  per- 
fection as  in  the 
Orient.  The  text- 
iles of  India,  fa- 
mous as  far  back 


as  history  or  even  tradition  can  go,  have  always  been  the  wonder  of 
the  world,  and  it  is  only  of  late  years  that  the  discoveries  of  science  and 
the  application  of  mechanical  means  have  been  able  measurably  to  imitate 
the  marvelous  products  of  the  Eastern  loom.  On  page  2 1 7 we  give  an 
illustration  of  one  of  the  best  of  these  imitations.  Every  lady  will  recog- 


INDUSTRI AL  ART. 


219 


nize  it  at  once  as  one  of  those  objects  dear  to  every  woman’s  heart — a 
Cashmere  Shawl.  The  peculiar  richness  of  the  pattern  in  this  example  is 
rather  heightened  than  lessened  by  the  combination  of  colors,  that  are  not  of 
a gorgeous  kind,  but  of  warm  tertiary  and  secondary  shades  and  tints,  more 
restful  and  pleasing  to  the  eye  than  is  always  the  case  in  these  fabrics.  The 
specimen  shown  was  made  in  Saxony,  but  only  an  expert  could  say  with  cer- 
tainty that  it  was  not  a veritable  Cashmere. 

Our  illustration  on  page  218  is  taken  from  the  metal-work  display  in  the 
Spanish  Court.  It  is  a Bronze  Vase,  inlaid  with  silver  and  engraved  with 
chasings  in  the  manner  peculiar  to  Moorish  art.  In  its  shape  the  vase  has  its 
counterpart  in  vases  made  in  Persia  many  centuries  ago,  and  it  is  to  Persia 
that  we  trace  the  so-called  Arabesque  ornamentation  and  the  decorative  designs 
made  familiar  to  us  by  the  Alhambra  and  other  monuments  which  have  served 
as  models  for  Spanish  art  ever  since.  It  is  now  believed  by  men  who  have 
studied  the  subject  that  the  Arabs  themselves  were  not  an  artistic  people, 
although  their  rulers  were  often  patrons  of  art  and  science,  who  encouraged 
the  cultivation  of  foreign  tastes  and  the  colonization  of  foreign  workmen. 

The  descendants  of  Mohammed  having  conquered  Persia,  doubtless  modified 
the  art  of  its  inhabitants,  and  from  this  modification  arose  the  well-known  Ara- 
besque style.  It  fairly  covers  an  object  with  interlaced  scroll-work  and  lines  of 
bewildering  intricacy.  Figures  of  beasts  and  monsters  are  introduced  and  inscrip- 
tions in  some  ancient  character.  It  is  curious  to  note,  by  the  way,  how  this 
habit  of  using  inscriptions  in  some  instances  survived  the  knowledge  of  the 
character  itself,  which  from  being  a collection  of  properly  formed  letters,  making 
words,  came  to  be  nothing  more  than  a fanciful  pattern  for  decorative  pur- 
poses, Whether  the  decoration  on  the  handles  of  this  vase  is  an  example  of 
this,  or  whether  it  is  an  inscription,  is  beyond  our  knowledge  to  say;  but  at 
any  rate  any  one  can  see  here  an  illustration  of  our  meaning. 

In  the  upper  portion  of  the  body  of  the  vase,  animals  are  introduced,  and  here 
again,  both  from  the  creatures  themselves  and  the  manner  in  which  they  are  drawn, 
we  recognize  the  oriental  methods.  We  have  not  space,  however,  to  dwell  longer 
on  this  interesting  subject.  The  reader  can  see  for  himself  that  here  is  a 
strongly  marked  style  of  decoration  essentially  different  from  all  others,  and  for 
metal-work,  perhaps  it  is  not  too  much  to  say  that  it  is  the  most  effective  of  all. 


220 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Among  the  numerous  other  curious  and  interesting  arts  seen  in  the  Egyp- 
tian Court,  the  one  of  enriching  leather  by  decoration  in  gold  and  color,  of 
which  the  Sax)DLe-Bag  engraved  on  this  page  is  an  illustration,  was  one  that 
attracted  much  attention.  The  effect  of  this  work  was  rich  in  the  extreme,  and 
it  is  apparently  popular  with  the  people,  for  numberless  articles,  from  the  trap- 
pings of  horses  to  small  purses  and  toilet  articles,  are  thus  decorated.  In 
this  instance  the  gold  appears  to  have  been  used  in  threads  as  an  embroidery, 
worked  into  a pattern  drawn  with  remarkable  skill. 

Our  illustra- 
tions on  page  22 1 
take  us  back  to 
France  and  to 
the  famous  por- 
celain manufac- 
tory established 
at  Sevres,  and 
patronized  by  all 
Europe.  We 
were  fortunate  in 
having  an  exhi- 
bition of  some 
of  the  finer  ex- 
amplesof  Sevres 

celain  was  not  put  in  competition  with  the  productions  of  other  factories,  for 
it  unquestionably  would  have  taken  all  the  honors. 

Fostered  by  the  lavish  expenditure  of  royal  means,  afterwards  carefully 
superintended  at  Government  expense,  with  the  best  chemists  in  the  world  to 
perfect  the  methods  of  manufacture,  and  with  great  artists  employed  to  decorate 
and  design  the  ware,  the  porcelain  of  Sevres  has  long  been  pre-eminent.  The 
factory  is,  in  itself,  a school  of  decorative  and  constructive  art. 

Of  the  three  pieces  which  we  illustrate,  one,  the  central  piece,  is  of  pate 
dure,  or  hard  porcelain,  and  the  other  two  of  pate  tendre,  or  soft  porcelain,  an 
artificial  composition  which  has  always  been  considered  the  perfection  of  the 
potter’s  skill.  In  the  former,  the  colors  lie  sharp  and  distinct  upon  the  surface 


Saddle-Bag : Egyptian  Court. 


porcelain  at  the 
Centennial,  sent 
to  us  by  the 
courtesy  of  the 
French  Commis- 
sion, None  of 
this  display  was 
on  sale ; it  was 
simply  a contri- 
bution towards 
making  the  cele- 
bration worthy 
of  its  high  aims. 
In  the  same  spirit 
the  Sevres  por- 


INDUSTRIAL  ART. 


221 


of  the  ware,  but  in  the  latter  they  sink  in  and  obtain  a depth  and  richness  that 
seems  fairly  to  absorb  light. 

Many  of  our  readers  will  recall,  perhaps,  the  splendid  brilliancy  of  the  blue 
color  in  the  piece,  heightened  by  the  gilding  to  the  handles,  seen  on  the  right 
hand  of  this  group. 

As  an  illustration  of  the  way  in  which  glass  may  be  used  for  ornamental 
purposes,  the  Mirror,  from  the  Lobmeyr  Exhibit,  in  the  Austrian  Court,  of 
which  we  engrave  a section  on  page  222,  may  be  studied.  Looking  at  it,  one 
would  hardly  realize  that  the  polished  reflecting  surface  of  the  mirror  was  of 


leases  of  Sevres-ware  : French  Commission. 


the  same  material  as  its  frame.  In  the  latter,  relief-work,  scroll  ornamentation, 
delicate  pendants  and  medallions,  finely  decorated  in  color,  are  introduced. 
Gilding,  too,  is  applied,  and  every  kind  of  finish  that  may  be  desired  is  given 
to  the  surface.  In  one  place  it  has  the  appearance  of  translucent  enamel;  in 
another  it  is  opaque ; again,  a bosse  gleams  with  the  lustre  of  a jewel,  and  still 
other  portions  seem  to  have  a velvet  softness.  It  is,  moreover,  an  astonish 
ingly  rich  piece  of  color,  the  ruby  red,  which  this  manufacture  produces  so 
successfully,  predominating. 

From  these  crystal  jewels  we  turn  to  the  inspection  of  real  gems — garnets, 
the  carbuncle  of  the  ancients,  by  whom  the  stone  was  indued  with  magical 


222 


THE  INTERNATIONAL  EXH IBITION,  1S76. 


qualities.  In  the  set  of  jewelry  illustrated  on  page  223,  nothing  but  garnets 
are  used.  These,  carefully  chosen  to  match  in  color  and  size  and  manner  of 
cutting,  have  been  set  in  embossed  gold,  so  as  to  form  a graceful  and  pleasing 
pattern.  As  a border  or  frame  to  each  piece,  sprays  of  laurel  have  been 
added,  with  ribbon-bows  above  and  below.  Beneath  these,  as  a pendant,  one 
large  garnet,  cut  to  a pear  shape,  is  suspended  in  such  a way  that  its  vibra- 
tions may  scintillate  the  brilliancy  of  the  gem. 


Portion  of  Mirror:  y.  &=  L.  Lobmeyr,  Vienna. 


Doubtless  many  of  our  Jady  readers,  in  these  days  when  the  minutest 
details  of  the  toilet  are  studied,  will  think  of  costumes  with  which  this  set  of 
jewelry  could  be  worn  most  becomingly,  but  we  venture  to  say  that  few  of 
them  know,  or  fewer  still  would  care  to  admit,  that  all  personal  adornment  of 
this  nature  is  a perpetual  reminder  of  the  servitude  of  woman  to  man.  Neck- 
laces and  bracelets  had  their  origin  in  the  collar  and  handcuffs  of  the  slave, 
who  was  bartered  and  sold  like  any  beast.  It  may  even  be  that  the  nose-ring 
and  lip  skewer,  still  in  use  among  savages,  were  used  to  lead  resisting  maidens 
and  to  enforce  silence  ; but  we  have  no  authority  for  this,  and  merely  hazard 


INDUSTRIAL  ART. 


223 


it  as  a suggestion  to  those  curious  on  the  subject.  However  this  may  be,  the 
women  of  the  present  day  have  their  satisfaction  and  revenge  in  causing  their 
lords  and  masters  to  buy  the  chains  with  which  they,  these  same  and  other 
lords  and  masters,  are  afterwards  enslaved  and  enthralled. 

It  has  been  well  said  that  “the  resources  of  art  in  the  form  of  pottery 
have  at  all  times,  especially  in  the  great  art  epochs,  been  seized  upon  to  express 
the  art  appreciation  of  different  races.  The  Etruscan  vases  have  made  per- 


Carnet  Set:  Goldschmidt,  Prague. 


manent  the  chaste  feeling  of  their  authors,  and  transmitted  to  us  the  refine- 
ment of  other  ages.  The  Egyptian  pottery  was  exceedingly  beautiful  in  form 
and  outline,  though  somewhat  rude  in  material ; and  the  vessels  which  have 
been  used  by  different  peoples,  and  have  been  preserved  to  us,  are  the  clearest 
manifestation  of  the  condition  of  domestic  industrial  art  among  them.  Perhaps 
in  this  branch  of  industry  the  progress  made  during  the  last  twenty  years  has 
been  greater  than  in  any  other,  and  it  has  been  in  the  direction  of  a return 
to  simplicity  and  ancient  forms.  This  last  remark  is  especially  true  of  Eng- 


224 


THE  INTERNATIONAL  EXHIBITION,  1876. 


land.  Wedgewood  produced  work  in  his  famous  potteries  at  Etruria  that  was 
exceptional.  With  Flaxman  to  design  for  him,  and  with  his  own  appreciation 
of  the  beautiful,  he  raised  the  potter’s  business  almost  at  one  stroke  to  a 
position  among  the  fine  arts.  The  example  of  Wedgewood  has  been  of  incal- 
culable benefit  to  his  industry  in  England.  Where  he  once  stood  alone  in  his 

the  sight  was  a reve- 
lation. The  effect  of 


pre-eminence,  now 
there  are  half  a dozen 
great  manufacturers, 
producing  pottery 
and  porcelain  equal 
in  material  and  com- 
paring favorably  in 
design  and  decoration 
with  European  wares. 

No  better  illustra- 
tion of  this  is  needed 
than  the  superb  col- 
lection of  English  art- 
pottery  exhibited  by 
the  Messrs.  Daniells 
in  their  department 
in  the  English  Court. 
To  one  who  had  not 
followed  the  wonder- 
ful development  of 
this  industry  in  Eng- 
land within  the  last 
quarter  of  a century. 


Promethean  Vase  : Daniell  Son. 


the  system  of  art- 
instruction  and  the 
awakened  interest  of 
the  community  in 
aesthetic  culture  was 
visible  on  every  hand 
in  objects  noticeable 
for  beauty  of  form, 
purity  of  color,  and 
correctness  of  draw- 


ing. 


Several  of  the 
choicest  pieces  in  this 
collection  have  al- 
ready been  illustrated 
in  these  pages,  and 
now  we  add  another, 
in  the  engraving  on 
this  page,  of  the  Pro- 
methean Vase.  This 
vase  is  equally  re- 


markable whether  we  consider  the  quality  of  the  workmanship  or  the  art 
displayed  in  its  design.  For  the  former  it  will  be  sufficient  to  say  here  that  it 
is  absolutely  without  a flaw,  and  the  reader  can  see  for  himself  how  fine  and 
harmonious  are  all  the  features  of  the  ornamentation.  The  vase  is  of  ovoid 
shape,  somewhat  flattened  at  the  top.  The  neck  is  short  and  narrow,  without 
ornamentation,  and  the  mouth  is  covered  by  a cap.  Around  the  base  are  several 


INDUSTRIAL  ART. 


225 


serpents,  issuing  from  rock-crevices,  and  stretching  upward  toward  the  stem. 
On  either  side  of  the  body  are  medallions,  with  relief-masks,  serving  as  brackets 
to  the  uprights  which  form  the  handles.  To  these  are  chained  male  figures, 
vigorously  modeled,  exhibiting,  in  pose  and  expression,  the  agony  of  their 
position.  Surmounting  the  cap  is  the  figure  of  Prometheus,  chained  and  bound 


to  the  rock,  while 
perched  with  extended 
wings  upon  his  thigh 
is  the  vulture  tearing 
at  his  vitals.  The  art- 
ist has  here  treated  his 
theme  with  great  skill, 
and  not  the  least  meri- 
torious feature  in  the 
whole  is  the  manner  in 
which  the  attention  is 
concentrated  on  these 
three  figu res  by  making 
the  other  parts  of  the 
vase  severely  plain  and 
unadorned. 

One  need  hardly 
be  told  that  our  next 
illustration,  the  Metal 
Crucifix,  on  this  page, 
is  of  French  manufac- 
ture, for  the  spirit  of 


Metal  Crucifix : R.  P Poussielgue,  Paris. 


French  art  is  plainly 
visible  in  every  line  of 
the  design ; yet,  ele- 
gant as  the  object  is 
in  form,  its  execution 
does  not  equal  the 
metal-work  of  two  cen- 
turies ago,  when  art 
was  religion,  and  the 
artisan  and  artist  seem- 
ed to  put  the  fervor  of 
their  faith  into  their 
work.  Even  with  the 
many  superb  examples 
of  the  metal-work  of 
that  time  in  the  mu- 
seums of  Europe,  free 
to  the  study  of  our 
modern  workmen,  it 
appears  impossible  to 
instill  into  them  the 
enthusiasm  and  fervor 


necessary  to  originate  equally  vigorous  work.  This  crucifix  is  undoubtedly  a 
fine  specimen  of  modern  workmanship,  beautifully  designed,  richly  ornamented, 
and  elaborately  finished.  The  figure  of  the  Christ  is  carefully  modeled,  and 
all  the  details  and  accessories  have  been  studied  with  care  and  executed  with 
skill,  so  that,  after  all,  if  we  measure  it  by  the  standard  of  modern  excellence, 
it  worthily  represents  the  best  metal-work  of  to-day. 

The  influence  of  Erench  fashions  and  Erench  art  on  our  American  manu- 


226 


THE  INTERNATIONAL  EXHIBITION,  1876. 


facturers  is  seen  in  the  handsome  Clock  and  Vase,  made  by  Mitchell,  Vance 
& Co.,  OF  New  York,  which  we  engrave  on  this  page.  An  ornamental  clock, 
accompanied  by  a pair  of  vases,  may  almost  be  considered  a necessary  part  of 
the  furniture  of  a French  room.  Indeed,  so  common  is  the  use  of  clocks  in 
that  country  that  there  are  persons  in  the  cities  whose  chief  business  is  to  go 
about  winding  the  clocks  and  seeing  that  they  are  kept  in  repair.  The  clock- 
winder  of  the  Grand  Hotel,  in  Paris,  goes  his  round  of  the  rooms  daily  with 
the  regularity  of  the  watchmen. 

In  this  country,  however,  though  we  have  adopted  the  fashion,  we  care  less 


Bronze  and  Marble  Clock  and  Vase  : Mitchell,  Vance  Co.,  New  York. 


for  the  use  of  the  article  than  for  its  artistic  setting.  It  matters  very  little  to 
the  average  American  housekeeper  whether  or  not  the  time  is  registered  on 
the  “parlor  clock,”  so  long  as  its  humbler  prototype  in  the  kitchen  is  correct; 
and  the  group  before  us  is  so  handsome  in  itself  that  one  might  well  desire  it 
simply  for  ornamental  purposes. 

The  body  of  the  pieces  is  a fine  black  marble,  enriched  with  gilt  bronze 
ornaments  ; the  vases  being  of  rich  copper-colored  metal. 

The  upright  Ebony  Piano  illustrated  on  page  227  is  from  the  exhibit  made 
by  R.  Ibach  & Son,  of  Barmen,  Germany,  in  the  German  Court  at  the  Cen- 
tennial. The  case  is  a splendid  piece  of  rich  carving,  neither  over-elaborated 


INDUSTRIAL  ART. 


227 


nor  too  barren  in  detail  for  an  object  of  this  kind.  The  two  lower  panels  are 
perfectly  plain,  with  only  a small  beading  around  the  frame.  On  the  pedal 
post  is  a group  of  musical  instruments  carved  in  low  relief.  On  either  side, 
however,  and  serving  as  supporters  to  the  key-board,  are  winged  griffins  elabo- 
rately executed  in  the  round,  and  forming  the  most  striking  feature  of 


Ebony  Piano  : R.  Ibach  Son,  Barmen,  Germany. 


this  portion  of  the  case.  The  upper  portion,  which  is  less  concealed  from 
view,  is  much  more  highly  finished.  The  pilasters  and  cornice  have  finely 
wrought  designs  of  a Pompeian  pattern  covering  all  their  surface,  and 
the  central  panel  contains,  beside,  fine  scroll-work,  groups  of  loves  and  swans 
executed  in  relief.  The  side  or  end  panels  have  frames  of  the  same  style 


228 


THE  INTERNATIONAL  EXHIBITION,  1876. 


as  those  in  tlie  base,  but  they  have,  in  addition,  as  ornaments,  vigorously 
carved  masks  with  rings. 

It  is  satisfactory  to  note  here  the  prevalence  of  hand-work  over  machine- 
carving. d'he  latter  method  has  been  the  means  of  multiplying  much  that  is 
good  in  wood  ornamentation,  but  it  has  also  been  the  fertile  source  of  much 
more  that  is  meretricious  and  entirely  bad.  The  multitude  desire  quantity 
without  regard  to  quality,  and  a manufacturer  with  the  aid  of  his  machine  saws 


and  lathes  panders  to  this  taste  by  turning  out  vast  quantities  of  articles  loaded 
down  with  florid  and  cheap  ornament.  There  is  no  reason  why  a good  model 
should  not  be  selected  in  the  first  place,  but  as  a matter  of  fact  this  is  rarely 
done ; or  if  it  is,  the  manufacturer,  putting  his  taste  above  that  of  the  trained 
artist,  makes  some  change  that  he  thinks  will  make  the  article  more  salable 
and  popular.  Certain  it  is  that  “the  best  workmanship  and  the  best  taste  are 
invariably  to  be  found  in  those  manufactures  and  fabrics  wherein  handicraft  is 
entirely  or  partially  the  means  of  producing  the  ornament.” 


INDUSTRIAL  ART. 


229 


This  it  is  that  makes  the  work  of  oriental  nations  of  such  high  excellence. 
The  hand  and  the  mind  of  the  Eastern  artificer  always  work  together,  and  the 
one  portrays  the  changing  fancy  of  the  other.  Take,  for  example,  the  fabric 
of  Japanese  workmanship  illustrated  on  page  228.  Although  the  pattern  here 


Enameled  Card- Case  : French  Court. 


is  much  more  uniform  than  is  usual,  it  will  be  observed  that  no  two  of  the 
scrolls  are  alike.  The  artist  simply  contemplated  producing  an  harmonious 
whole,  which  he  has  succeeded  in  doing  most  admirably.  How  much  more 
satisfactory  and  enjoyable  is  such  a design  as  this  than  the  repetition  with 
mathematical  accuracy  over  a surface  of  some  one  stereotyped  figure ! The 


230 


THE  INTERNATIONAL  EXHIBITION,  1876. 


one  shows  a poverty  of  inventive  art,  as  the  other  indicates  richness  and 
versatility  of  fancy. 

Our  illustration  on  page  229  represents  in  its  full  size  an  Enameled  Card- 
Case,  exhibited  in  the  French  Court.  Tliis  beautiful  example  of  an  art  long 
practised,  even  among  the  ancient  nations,  but  in  later  years  brought  to  its 
highest  degree  of  perfection  in  Limoges,  illustrates  the  excellence  the  art 


Silver  Tazza  : Elkington  &•  Co.,  Birmingham. 


Still  maintains  in  France.  In  the  centre  of  the  case  is  a medallion  likeness 
of  Diane  de  Poitiers,  and  the  brilliant  and  elaborate  decoration  surrounding  the 
portrait  of  this  beautiful  woman  is  of  a style  and  richness  worthy  of  tlie  time 
in  which  she  lived.  Indeed,  the  case  itself  is  just  such  a costly  and  exquisite 
toy  as  this  queen  of  luxury  would  have  loved. 

In  order  that  those  of  our  readers  unfamiliar  with  this  art  of  enameling 
may  have  a more  intelligent  idea  of  the  subject,  we  will  endeavor  briefly  to 


INDUSTRIAL  ART. 


231 


sketch  its  more  salient  features.  The  art  of  enameling  is  the  process  of  deco- 
rating a surface  with  some  vitrifiable  material  by  the  process  of  fusion.  This 
material  is  colored  by  the  use  of  metallic  oxides,  great  care  and  experience 
in  their  use  being  necessary  to  obtain  the  desired  results ; but  the  scale  of 
colors  which  the  artist  has  to  choose  from  is  not  so  limited  as  is  generally 
supposed.  Enamel  colors  are  either  opaque  or  transparent,  and  they  are  applied 
in  three  different  ways.  Incrusted  enamels  form  the  first  and  great  division  ; 
the  painted  enamels  come  next,  and  the  translucent  enamels  on  surfaces  in 
relief  make  the  third  division. 

With  the  incrusted  enamels  our  readers  are  already  familiar  in  the  examples 
of  cloisonne  and  champleve  oriental  vases  that  have  been  illustrated  in  these 
pages.  But  this  art  was  not  confined  to  the  East.  It  found  expression  in 
various  parts  of  Europe,  especially  in  France,  in  many  superb  ornaments,  and 
the  art  obtained  in  Britain  at  a very  early  day.  Of  the  two  kinds  in  Europe, 
the  cloisonne  is  by  far  the  rarest  and  most  valuable.  Limoges  was  the  chief 
centre  of  its  production,  and  many  famous  examples  now  remaining  in  various 
parts  of  Europe  are  traced  to  the  Limousin  workmen. 

Here,  too,  the  art  of  painting  with  enamel  colors  was  first  practised  exten- 
sively and  brought  to  its  highest  state  of  perfection.  The  museums  of  Europe 
abound  with  specimens  of  the  brilliant  work  executed  here  during  the  renais- 
sance. So  great  was  the  desire  to  possess  articles  decorated  with  enamels,  that 
ior  a season  the  goldsmith’s  chisel  was  superseded  by  the  enameler’s  pencil, 
and  dishes,  vases,  cups  and  objects  of  ornament  glittered  with  brilliant  colors 
that  concealed  wholly  or  partially  the  precious  metals  beneath.  A long  list  of 
famous  names  is  connected  with  the  enamel-painter’s  art  during  the  period 
when  it  was  most  practised.  As  time  advanced,  new  methods  of  enameling 
were  discovered,  and  toward  the  latter  end  of  the  seventeenth  century  the 
process  of  painting  portraits  in  miniature  was  brought  to  a high  degree  of 
perfection.  Some  of  these  are  perfect  marvels  of  delicacy,  both  in  color  and 
finish.  The  same  processes  were  applied  to  the  painting  of  natural  objects, 
such  as  flowers,  birds  and  butterflies,  on  trinkets  and  all  kinds  of  small  personal 
ornaments,  and  the  decoration  soon  became  so  fashionable  that  it  was  applied 
to  the  baser  metals. 

In  an  article  on  Enamels  prepared  for  one  of  the  hand-books  for  the  great 


232 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Kensing-ton  Museum  is  this  account  of  the  third  division  of  which  we  have 

o 

spoken  : — 

“Translucent  enamels  upon  relief  were  made  by  Italian  artists  about  the 
year  1300,  and  grew  more  perfect  as  time  went  on,  reaching  the  highest  excel- 
lence in  the  sixteenth  century.  Benvenuto  Cellini  gives  a detailed  description 
of  the  mode  of  preparing  and  applying  the  enamels.  He  says  that  the  colors 
were  first  to  be  pulverized  and  carefully  washed ; then  to  be  dried,  by  pressure. 


Piilissy  Pla'c  ■ BijrHzet  Sum,  Paris. 


as  dry  as  possible  ; the  enamel  was  then  to  be  laid  very  thinly  upon  the  surface 
of  the  relief,  in  order  that  the  colors  should  not  run  into  one  another.  In 
placing  the  piece  in  the  furnace,  much  caution  is  to  be  used  so  that  the  enamel 
might  approach  it  gradually  and  be  heated  slowly,  and  afterwards  as  cautiously 
watched  that  it  might  not  run.  It  was  then  to  be  withdrawn,  and  having  gradu- 
ally become  cold,  another  layer  of  enamel  was  applied,  and  the  same  process 
of  fusion  was  repeated.  When  the  piece  had  again  cooled,  the  enamel  was 
reduced  in  thickness  until  sufficiently  transparent,  and  lastly  polished.” 


INDUSTRIAL  ART. 


233 


Fine  specimens  of  the  above  description  are  extremely  rare  and  valuable. 
The  subject  of  our  illustration  on  page  232  belongs  to  the  second  division,  or 
a painting  in  enamel  colors — in  this  instance  both  opaque  and  transparent. 

Our  readers  are  already  familiar  with  the  high  character  of  the  display 
made  at  the  Centennial  by  the  Messrs.  Elkington,  of  Birmingham,  through 
the  superb  pieces  of  metal-work  from  their  manufactory  which  have  been  illus- 
trated in  these  pages.  No  one,  looking  at  that  splendid  exhibit,  made  up 


entirely  of  ob- 
jects for  or- 
namental use, 
could  fail  to 
acknowledge 
the  rapid  and 
great  advance 
in  art  and  art- 
industry  that 
England  has 
made  in  the 
last  quarter  of 
a century.  It 
was  here  in- 
deed that  we 
could  see  the 
highest  art  ap- 


Commumon  Service  : Cox  &•  Son,  London. 


plied  to  the 
precious  met- 
als. The  la- 
bors of  the 
artist  and  arti- 
san, were  so 
th  o rou  ghl y 
and  perfectly 
m i ngled — as 
they  should  be 
— that  it  was 
hard  to  say 
where  the  skill 
of  the  one 
ended,  and  the 
inspiration  of 
the  other  be- 


gan. If  the  other  manufacturers  of  England  in  their  several  specialties  advance 
at  the  same  rapid  rate  in  the  application  of  art  to  the  industries  as  is  advancing 
this  representative  firm  of  metal-workers,  they  will  acquire  for  themselves  a 
position  second  to  none  in  Europe. 

The  illustration  on  page  230  is  another  ot  the  Elkington  pieces  shown  at 
the  Centennial.  It  is  a large  Tazza,  or  dish,  profusely  ornamented  with  rich 
and  intricate  scroll-work  around  the-  rim,  and  containing  in  the  centre  a charming 
group,  executed  in  repousse,  of  Venus  borne  upon  the  waves  by  Neptune.  We 
are  not  aware  whether  or  not  this  piece  is  after  a design  of  M.  Morel  Ladeuil, 
who  is  employed  by  the  Messrs.  Elkington,  but  certainly  the  vigorous  drawing 


234 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


of  the  sea-king,  the  graceful  pose  and  beauty  of  his  fair  burden,  and  the  atti- 
tudes of  the  pretty,  playful  loves,  suggest  the  work  of  a master-hand,  and  the 
whole  forms  a group  not  unworthy  of  that  great  artist. 

Another  famous 


perb  ecclesiastical 
vessels  of  former 
times.  England  is 
particularly  rich  in 
these  treasures,  and 
the  English  metal- 
workers have  a 
rare  opportunity  to 
study  in  them  some 
of  the  finest  ex- 
amples preserved 
anywhere. 

The  influence  of 
this  advantage  is 
seen  in  the  work 
before  us,  where 
the  large  chalices 
are,  if  not  repro- 
ductions, conceived 
in  the  same  style 
as  some  of  the 
fifteenth  century 
cups.  The  vessels 
for  holding  the 
wine  also  are  of 
an  antique  type, 

and  the  general  character  of  the  design  is  carried  out  in  the  decoration  of  the 
patterns.  In  the  group  before  us  there  seems  to  be  three  several  sets  of 
Communion  Vessels — the  lower  one  of  simple  form  and  modest  size,  suitable 
for  and  within  the  means  of  a village  church ; and  the  upper  ones  of  different 
degrees  of  richness  and  elaboration,  worthy  to  decorate  the  altar  of  some  lordly 


metal-working  firm, 
the  Messrs.  Cox  & 
Son,  of  London, 
whose  exhibit  also 
has  furnished  us 
with  several  beau- 
tiful examples  of 
their  art,  are  rep- 
resented in, the  en- 
graving on  page 
233.  This  repre- 
sents a group  of 
ecclesiastical  ves- 
sels for  church  cere- 
monial. Church 
furniture,  by  the 
way,  is  one  of  the 
firm’s  specialties, 
and  they  have 
achieved  great  sue- 
cess  not  only  in  the 
making  of  original 
designs  in  these 
objects,  but  in  re- 
producing the  su- 


Kruz : Count  von  Klosterel  Thun,  Bohemia. 


INDUSTRIAL  ART. 


23s 


place  of  worship, 
in  Europe,  among 
another,  and  to 
increase  the 
attractions  of 
worship  by  an 
appeal  to  the 
senses.  With- 
out discussing 
the  propriety 
of  this  move- 
ment, or  the 
grounds  of  the 
opposition  it 
meets  with  in 
certain  quar- 
ters, the  unsec- 
tarian observer 
cannot  but  re- 
joice in  the  ef- 
fort to  make 
the  house  of 
God  beautiful 
be)ond  the 
abodes  of  men, 
and  his  worship 
in  itself  glori- 
ous and  im- 
pressive. 

Few  objects 
in  pottery  are 
so  much  valu- 


There  seems  to  be  a growing  tendency  in  this  country  and 
many  religious  sects,  to  revive  ceremonial  of  one  kind  and 

ed  by  connois- 
seurs as  pieces 
of  Bernard  Pa- 


L I s s Y - w A R E. 
This  f a m o u s 
potter  and 
chemist,  who 
lived  and  work- 
ed under  the 
patronage  of 
Henry  111,  and 
died  miserably 
in  the  Bastile 
for  his  faith,  to- 
ward the  close 
of  that  mon- 
arch’s reign, 
invented  pro- 
cesses which 
other  potters 
were  unable  to 
discover,  and 
modeled  natu- 
ral objects  with 


a visfor  and  nat- 

o 

uralness  quite 
unequaled  by 
contemporary 
articles.  Of 
late  years  the 

taste  for  Palissy-ware  has  revived  to  such  an  extent  that  fabulous  prices  are 
paid  for  genuine  specimens,  and  the  market  is  flooded  with  more  or  less 


236 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


perfect  imitations.  One  of 
the  great  firms  in  Paris, 
Messrs,  Bakbizet  & Son, 
have  devoted  considerable 
time  and  attention  to  repro- 
ducing this  particular  ware, 
and  their  labors  have  been 
eminently  successful.  In 
their  exhibition  in  the  French 
Court  at  the  Centennial, 
there  were  pieces  in  design 
and  execution  quite  worthy 
of  the  great  master  himself, 
and  some  of  their  copies 
placed  side  by  side  with  the 
originals  would  deceive  even 
an  expert. 

The  Palissy  Plaque  illus- 
trated on  page  232  gives  an 
excellent  idea  of  some  of 
the  characteristics  of  the 
artist’s  manner.  Every  nat- 
ural object  modeled  by  hirp 
was  copied  with  remarkable 
accuracy  both  in  form  and 
color.  It  was  rarely,  too, 
if  ever,  that  he  went  out- 
side of  nature  for  his  themes. 
His  fish  and  shells  were 
found  in  the  Seine,  and  his 
plants  are  such  as  grew  in 
his  neicrhborhood  and  came 

o 

under  his  observation.  An- 
other favorite  style  of  deco- 


INDUSTRIAL  ART. 


237 


ration  with  him  was  an  imitation  of  rock-work,  in  which  he  excelled,  but  the 
name  “Palissy-ware”  is  commonly  associated  with  the  style  of  work  seen  in  our 
engraving.  Here  are  fish,  eels,  frogs,  lobsters,  lizards,  and  water-bugs  distribu- 
ted among  a confusion  of  land-  and  water-plants.  On  one  side  is  a dragon-fly 
poised  above  a flower,  and  on  the  other  a nest-full  of  birds  on  the  sand. 
These  objects  are  all  executed  in  low  relief,  and  colored  as  in  nature.  It  is 
our  impression  that  this  plaque  is  a copy  of  one  of  Palissy’s  own  invention  ; 
but  even  if  it  is  not,  it  is  sufficiently  in  his  style  to  give  an  intelligent  idea 
of  his  peculiar  methods  of  decoration. 


Testimonial  Vase.-  Tiffany  &=•  Co.,  New  York. 


Although  Bohemia  was  noteworthy  at  the  Centennial  principally  on  account 
of  the  splendid  display  of  glass  made  by  her  manufacturers,  the  sister  industry 
of  pottery-making  was  not  without  its  representatives.  The  Count  von  Klos- 
TEREL  Thun  made  the  most  extensive  exhibit,  chiefly  of  decorated  table-ware, 
tea-,  dinner-,  dessert-services,  etc.  In  addition  to  these  there  were  numerous 
glazed  and  colored  ornaments  in  faience,  together  with  vases  and  figures  of  a 
clear,  white  material  resembling  parian  in  texture  and  finish.  The  fine  Krug 
which  we  engrave  on  page  234  is  of  this  character.  It  is  an  ornamental  piece, 
standing  some  three  feet  high,  and  will  be  recognized  by  many  as  the  central 
object  in  the  Count  von  Thun’s  display.  In  shape  this  vessel  resembles  some 


238 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


of  those  antique  stone-ware  pieces  chiefly  made  in  Cologne  and  other  cities  of 
Germany,  but  commonly  spoken  of  as  gris  de  Flandres.  Its  ornamentation, 
however,  is  quite  of  a different  character.  On  the  zone  surrounding  the  body 
of  the  vessel  is  depicted  a dance  and  drinking-revel,  where  the  sport  is  fast 
and  furious.  The  figures  are  executed  in  relief,  and  are  examples  of  uncom- 
monly good  modeling.  The  drawing,  too,  and  the  grouping  of  the  figures  is 
very  well  done.  Above  this  zone  is  a circle  of  vine-leaves  and  fruit  also  in 


yfivel  Caaket : 7.uloaga  &=  Son,  Madrid. 


relief,  but  less  raised  than  the  former.  Above  this  again,  on  the  neck  of  the 
vessel,  is  an  armorial  shield  with  supporters.  Garlands  and  bunches  of  fruit 
and  flowers  surround  it.  On  the  cover,  seated  upon  a kind  of  throne,  with  her 
drapery  disposed  negligently  about  her,  is  seated  a female  figure,  typifying  the 
goddess  of  the  revels.  On  her  knees  rests  a lute,  and  in  her  right  hand  she 
holds  a goblet  of  wine.  Her  hair  hangs  loosely  about  her  shoulders.  The 
handle  has  less  ornament  than  any  other  part  of  the  vessel ; yet  here,  just  at 
its  upper  junction  with  the  neck,  a winged  mask  is  cleverly  introduced.  Taken 
as  a whole,  this  vase  is  an  admirable  example  .of  the  artistic  skill  and  excel- 
lence of  the  Bohemian  potters. 


INDUSTRIAL  ART. 


239 


As  another  example  of  the  skill  of  the  Belgian  lace-workers,  we  give  an 


illustration,  on 

page  235,  of  a Lace  Border  manufactured 

by  Verde  de  Lisle 

Brothers,  of 

charming  grace 

Brussels.  It  is 

and  natural- 

not  possible,  in 

ness.  An  ex- 

an  eng-ravinCT  of 

cellent  feature 

a fabric  of  this 

of  the  design 

kind,  to  convey 

is  the  way  in 

any  adequate 

which  the  repe- 

idea  of  the  ex- 

tition  of  the 

ceeding  fi  n e- 

groups  is  ar- 

ness  of  the 

ranged,  so  as 

workmanship, 

to  convey  as 

but  the  richness 

little  idea  as 

and  beauty  of 

possible  of 

the  design  have 

sameness,  and 

been  admirably 

to  make  the 

rendered  in  the 

whole  harmo- 

illustration;  the 

nious.  A fine 

profusion  and 

^ I'T'''— 

running  vine 

variety  of  the 

with  delicate 

flowers  a’nd 

tendrils  and 

ferns  suggest 

sprays  of  leaves 

the  richness  of 

depending  over 

tropical  luxuri- 

the  plants  be- 

ance,  and  they 

have  been 

low  gives  a 
straight  and 

grouped  and 
intermingled  by 

Porcelain  Vase : Chinese  Court. 

w e 1 1-de  fi  ned 

border,  sepa- 

the  artist  with 

rating  the  figure 

from  the  plain 

portion  of  the  fabric,  and  making  a finish  to  the  whole. 

A happy  blending  of  realism  and  fancy  is  seen  in  the  graceful  design  in 
the  panel,  a specimen  of  Wood-Carving,  by  Pi^ofessor  Frullini,  of  Florence, 
illustrated  on  page  236.  The  artist  seems  to  have  had  in  view  the  idea  of 


240 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


conveying  a sense  of  a tangle  of  branches  of  trees  and  tall  grasses  by  the 
i.uihiplication  of  the  curves  and  intricate  convolutions  of  lines  with  which  he 
has  covered  the  panel.  Among  these,  as  in  a thicket,  are  birds,  reptiles  and 


IXDUSTRIAL  ART. 


241 


Ebony  Cabinet : O.  B.  Frederick,  Dresden. 


insects,  executed  with  much  spirit  and  skill.  In  the  centre  of  the  panel  is  a 
fanciful  figure,  half  bird,  half  monster,  above  which,  standing  in  a shell,  is  a 
pretty  group  of  Venus  and  Cupid.  There  is  something  peculiarly  free  and 


242 


THE  INTERNATIONAL  EXHIBITION,  1876. 


vigorous  in  the  execution  of  this  desio-n,  which,  as  a whole,  is  one  of  great 

O O ’ ’ ’ o 

beauty. 

After  the  Court  of  Arbitration  on  the  Alabama  question,  consisting  of  five 
members  appointed  by  the  Governments  of  the  United  States,  Great  Britain, 
Italy,  Switzerland,  and  Brazil,  which  met  at  Geneva  in  1871,  had  completed  their 
labors,  our  Government,  in  recognition  of  their  services,  presented  each  of  the 
foreign  commissioners  with  a service  of  handsome  plate.  One  of  these  pieces. 


Ottyx  Vase  : French  Court. 


manufactured  by  Messrs.  Tiffany  & Co.,  of  New  York,  is  illustrated  in  our 
engraving  on  page  237.  It  is  a large  vase  or  bowl,  elaborately  ornamented 
with  scroll-work  and  figures  In  relief,  and  bearing  on  its  side  an  inscription 
explanatory  of  the  nature  of  the  gift.  At  either  extremity  of  the  piece  are 
heads  of  Bacchant!  crowned  with  grape-leaves  and  fruit,  attached  as  handles  to 
the  bowl.  These  heads  are  well  modeled  and  finely  executed,  and  the  whole 
piece  is  a representative  and  excellent  example  of  metal  art-workmanship. 

On  page  238  we  engrave  an  illustration  of  a Jewel  Casket,  manufactured 
by  M.  ZuLOAGO,  OF  Madrid,  and  on  view  at  the  Centennial  among  his  exhibits 


INDUSTRIAL  ART. 


243 


in  the  Spanish  Court.  'Fhe  great  beauty  of  this  elegant  affair,  aside  irom  the 
design,  is  the  exquisite  finish  of  the  workmanship.  The  fine  Arabesque  deco- 
rations on  the  ends  of  the  box  are  as  carefully  and  perfectly  wrought  as  they 
could  well  be,  and  the  delicate  inlays  in  the  medallions  and  border  on  the  front 
and  top  and  back  are  without  a flaw  or  false  line.  The  lock  is  perhaps  the 
most  elaborately  finished  part  of  the  whole,  but  even  here  there  is  a notice- 


Porcelain  Plaque:  French  Court. 


able  absence  of  the  tendency  to  over-elaboration  that  too  often  mars  Spanish 
art-work.  The  designs  for  the  medallions,  it  will  be  noticed,  are  quite  free  from 
exaggeration,  and  nothing  could  be  simpler  than  the  pattern  of  the  border,  yet 
the  effect  of  the  whole  is  one  of  extreme  elegance. 

The  large  Porcelain  Vase  engraved  on  page  239  is  somewhat  different  in 
the  style  of  its  decoration  from  any  of  the  other  pieces  of  Chinese  pottery 
which  we  have  illustrated  in  the  preceding  pages.  The  body,  neck  and  lips  of 
the  vase  are  covered  for  the  most  part  with  a fine  vine  and  flower  scroll  pattern 
done  in  polychrome,  but  the  front  portion  is  occupied  by  medallions  painted 


244 


THE  INTERNATIONAL  EXHIBITION,  1876. 


with  figure-subjects.  What  the  subject  of  the  upper  design  is,  is  uncertain, 
though  it  might  very  well  represent  a high  official  beset  by  rival  office-seekers. 

But  the  lower  picture  tells  its 
own  story.  Here  is  a grand 
Mogul  seated  at  his  ease, 
surrounded  by  his  courtiers, 
watching  the  performance  of  a 
couple  of  clowns.  Standing 
on  the  steps  just  outside  of  the 
Mogul’s  court  is  the  master 
of  the  clowns,  urging  the  poor 
fellows  on  to  renewed  exer- 
tions, while  on  either  hand, 
keeping  him,  the  master,  to 
his  work,  are  two  courtiers, 
one  expostulating  with  him 
kindly,  and  the  other  standing 
silent,  with  drawn  sword,  and 
a most  sinister  look  on  his 
face — an  action  more  potent 
than  words. 

This  picture  is  a very  good 
illustration  of  Chinese  picto- 
rial art.  It  is  full  of  character 
and  action.  What  could  be 
better  than  the  attitude  and 
expression  of  the  master  of 
the  clowns  here,  or  of  the  pe- 
destrian who  has  paused  in 
his  walk  to  enjoy  their  an- 
tics ? It  is  not  fine  art,  con- 

L.xce  Curtain  . Heyman  &=  Alexander,  Nottingh.im , Eng. 

sidered  by  our  canons  of  good 
drawing  and  perspective,  but  it  shows  more  artistic  perception  and  ability  to 
portray  the  salient  points  of  a situation,  than  many  European  artists  possess. 


INDUSTRI AL  ART. 


245 


The  severe  plainness  in 
style  lor  lurniture  that  has 
quite  superseded  the  pat- 
terns of  twenty-five  years 
ago  is  illustrated  in  the 
Buffet  exhibited  by  Col- 
LiNsoN  & Locke,  of  Lon- 
don, in  their  department  at 
the  Centennial.  It  is  after 
the  manner  made  familiar 
to  us  in  this  country  by 
Mr.  Eastlake  in  his  book 
on  Household  Art.  The 
benefit  of  that  volume  to 
the  people  both  here  and 
in  England  has  been  quite 
incalculable.  Itwoke  every- 
body up  to  the  evils  of 
glue  and  veneer  and  mere- 
tricious ornament  and  dis- 
honest workmanship.  It 
called  for  good,  honest 
joinery  in  wood-work,  and 
protested  against  shams. 

It  showed,  too,  how  much 
more  harmonious  and  how 
much  more  truly  artistic  a 
room  would  appear  fur- 
nished in  the  manner  he 
advocated  than  with  the  in- 
congruous assortment  of 
fragile  bow-legged  mon- 
strosities to  which  the  public  had  become  accustomed.  It  is  possible  that  the 
enthusiasm  ot  Mr.  Eastlake  led  him  too  far  in  his  crusade,  but  in  the  main  his 


246 


THE  INTERNATIONAL  EXHIBITION,  1876. 


suggestions  were  marked 
with  good  strong  common 
sense  and  a correct  appre- 
ciation of  art. 

It  will  be  observed  that 
the  lines  of  this  buffet  are, 
in  the  main,  straight,  fol- 
lowing the  grain  of  the 
wood,  and  that  the  detail 
of  the  ornament  is  very 
simple,  and  that  it  is  of  a 
character  suitable  to  the 
material  used.  In  several 
places  tiles  have  been  in- 
troduced as  panels,  thus 
adding  richness  and  color 
to  the  whole.  Carrying 
out  this  style,  in  the  mind, 
through  a whole  set  of 
dining-room  furniture,  we 
can  hardly  imagine  a more 
comfortable  or  thoroughly 
satisfactory  series,  or  one 
better  calculated  for  use 
as  well  as  ornament. 

The  engraving  on  page 
241  illustrates  an  Ebony 
Cabinet,  one  of  the  chefs 
d' oeuvre  of  the  exhibit  of 
O.  B.  Frederick,  of  Dres- 
den, in  the  German  Court. 
Although  this  fine  piece 
of  carving  is  designed  in 
the  renaissance  style,  its 


Sanctuary  Lamp : Mitchell,  Vance&^Co. 


appearance  is  more  mas- 
sive and  severe  than  com- 
monly obtains  in  furniture 
of  that  period.  The  lower 
portion  of  the  piece  is 
divided  into  panels  by 
pilasters  of  Doric  pattern, 
which  latter,  by  their  plain- 
ness and  absence  of  orna- 
mentation, give  greater 
emphasis  to  the  elaborate 
scroll-work  with  which  the 
side  panels  are  adorned. 
The  centre  panel,  other- 
wise unornamented,  con- 
tains a central  medallion 
on  which  is  carved  in  low 
relief  and  with  exquisite 
skill  a pastoral  scene  of  a 
classic  character.  Here 
Pan  is  represented  playing 
upon  a flute,  while  groups 
of  shepherds  and  shep- 
herdesses are  gathered  at 
his  feet,  listening  to  the 
music,  while  their  flocks 
browse  peacefully  about 
them.  In  the  upper  por- 
tion of  the  cabinet  are  two 
panels  containing  figures 
of  dancing  girls,  also  carv- 
ed in  low  relief  and  in  the 
same  classical  style.  In- 
deed all  the  details  of  the 


IND  US  TRIAL  ART. 


247 


work,  the  frieze  below  and 
tlie  entablature  above,  are 
conceived  in  a classic 
spirit.  This  entablature, 
it  will  be  observed,  is 
supported  by  columns  of 
the  more  elaborate  Co- 
rinthian order.  There 
are  eight  of  these  col- 
umns— four  at  the  back 
and  four  in  front — the 
space  between  being  left 
open,  affording  a place 
for  the  arrangement  of 
statuettes,  pottery  or  any 
ornamental  objects. 

The  charming  group 
of  little  Loves,  illustrated 
on  page  242,  bravely  en- 
deavoring to  raise  and 
carry  the  vase  which  they 
have  garlanded  with  a 
rope  of  leaves,  makes 
a pretty  picture.  The 
central  figure,  quaintly 
draped — as  if  such  inno- 
cence needed  drapery — 
with  her  hair  done  up  in 
a matronly  fashion,  in  her 
serious  belief  that  she  is 
aiding  her  companions, 
who  really  have  assumed 
the  whole  burden,  is  a 
delightful  little  creature. 


For  the  others,  the  artist 
has  succeeded  admirably 
in  portraying  that  expres- 
sion of  manly  determina- 
tion and  strong  endeavor 
so  comical  in  the  earnest 
play  of  little  children. 

When  we  consider, 
however,  that  this  group 
has  been  carved  from  an 
onyx,  a hard  species  of 
quartz  resembling  agate, 
it  becomes  a matter  of 
wonder  that  anything  so 
beautiful  could  be  exe- 
cuted in  such  a hard  ma- 
terial ; yet  the  art  of  the 
lapidary  is  one  of  the 
most  ancient  of  existincj 
arts,  and  unlike  others 
of  like  antiquity,  has 
come  down  uninterrupt- 
edly to  the  present  day. 
Perhaps  no  more  mar- 
velous proof  of  the  per- 
fection of  art-workman- 
ship  among  the  Greeks 
is  to  be  found  than  in 
the  engraved  cylinders 
and  intacrlios  and  cameos 

O 

which  they  executed. 
Among  them  we  find 
specimens  of  such  mar- 
velous execution  as  defy 


248 


THE  INTERNATIONAL  EXHIBITION,  1876. 


all  attempts  at  imitation.  In  most  of  the  museums  of  Europe,  beside  these 
smaller  examples,  are  cups  and  vases  of  later  date,  carved  from  crystals  or 
from  precious  stones,  illustrating  the  continuance  of  the  art  in  another  form. 
In  the  Louvre  are  many  notable  pieces,  and  it  may  be  the  French  artist  who 
executed  this  onyx  vase  gained  his  inspiration  from  the  study  of  that  magnifi- 
cent collection. 


The  Porce- 
lain Plaque, 
illustrated  on 
page  243,  which 
is  also  a speci- 
men of  French 
art-workman- 
ship, is  remark- 
able for  the 
delicacy  of  the 
design  and  the 
extremebeauty 
of  its  execu- 
tion. It  is  very 
rarely,  and  only 
when  done  by 
artists  of  merit 
who  have  given 
longr  time  and 


study  to  the 
work,  that  pic- 
torial designs 
executed  upon 
porcelain  give 
thoroughly  sat- 
is factory  re- 
sults. So  much 
allowance  has 
to  be  made  for 
the  change  of 
color  in  the 
firing  and  the 
different  ap- 
pearance that 
is  given  by  the 
glaze,  that  the 
designer  often 
is  obliged  to 

work  not  on  a picture  growing  to  completion  under  his  hands,  but  on  one  which 
is  finished  after  his  work  is  ended,  and  in  which  no  repairs  or  after-touches  are 
possible. 

In  the  design  before  us  the  reader  can  well  judge  for  himself  of  the  beauty 
and  grace  of  the  drawing.  The  nude  female  figure  is  a model  of  loveliness, 
and  the  little  cupids  disporting  about  her,  laughingly  avoiding  the  playful  strokes 
of  her  whip,  are  charmingly  graceful  in  their  attitudes.  The  group  is  arranged 
in  a flowering  branch  suggestive  of  a bower,  and  the  skill  with  which  the  leaves 
have  been  made  to  harmonize  gives  a particular  merit  to  the  composition. 


Necklace  and  Ear-rings  : Ceissel  &>=  Harhing.  Hanau. 


INDUSTRIAL  ART. 


249 


Fire  Screen  : Royal  School  of  Art  Needlework. 


The  coloring  of  the  piece,  of  which  no  idea  can  be  conveyed  in  an 
engraving,  is  another  of  its  excellent  features.  The  flesh  tints  are  admirably 
managed,  and  are  finely  relieved  against  the  deep  dark  background.  The  border 


250 


THE  INTERNATIONAL  EXHIBITION,  1876. 


has  been  intention- 
ally subdued  so  as 
not  to  distract  the 
attention  from  the 
group  in  the  centre, 
and  the  decoration 
is  of  simple  geo- 
metric character. 

The  fashion  of 
using  porcelain 
plaques  for  wall 
decoration,  though 
liable  to  be  carried 
to  excess,  is  a com- 
mendable one  when 
practised  in  moder- 
ation, Persons  un- 
familiar with  this 
use  of  plaques  will 
be  surprised  at  the 
admirable  effect  of 
a sincrle  artistic 

o 

plate,  such  as  this, 
properly  framed 
and  hung  upon  the 
wall.  Many  pieces 
that  are  quite  lost 
amonor  a number 
of  Others  resting  in 
a cabinet  or  upon 
a mantel-shelf  can 
be  thus  used  to  ex- 
cellent advantage 
in  adorning  a sit- 


Lamp-post : German  Court. 


ting- room  or  par- 
lor. 

N OTTINGHAM 
Lace  is  known  over 
pretty  much  the 
whole  civilized 
world,  and  the 
manufacture  is 
justly  celebrated, 
for  nowhere  else 
has  the  mechanism 
for  this  kind  of  fab- 
ric been  brought 
to  greater  perfec- 
tion. The  specimen 
which  we  engrave 
on  page  244  is  an 
excellent  example 
of  this  famous 
work.  The  fern, 
which  seems  to  be 
such  a universal 
favorite  with  all 
lace-designers,  is 
repeated  here  in  a 
very  pretty  pattern. 
Delicate  woodland 
vines  surround  the 
ferns  and  form  a 
pleasing  tangle  in 
the  border. 

A curtain  of  a 
totally  different 
style,  and  one  es- 


INDUSTRIAL  ART. 


251 


sentially  French  in  character,  is  seen  in  the  next  illustration  on  page  245,  which 
is  engraved  as  a specimen  of  lace  exhibited  in  the  French  Court.  This  curtain, 
from  the  pictorial  nature  of  the  design,  is  evidently  intended  to  hang  perfectly 
flat,  as  otherwise  the 
harmony  of  the  out- 
line would  be  spoiled. 

Here,  too,  about  the 
border  we  have  ferns 
and  wood-plants  in- 
terwoven with  scrolls, 
but  the  central  subject 
is  a little  naked  Cupid 
standing  upon  a pe- 
destal, and  bearing 
upon  his  shoulder  a 
sheaf  of  lilies  which 
he  has  been  gather- 
ing. Springing  up 
on  either  hand  and 
framimj  him  with  their 
leaves  are  flowering 
grasses,  while  above 
the  little  fellow  are 
suspended  the  em- 
blems of  his  craft, 
guarded  over  by 
birds.  It  is  pleasant 
to  picture  in  one’s 
mind  all  the  appoint- 
ments of  a room  in 
which  such  curtains 

as  these  would  be  hung,  for  unless  it  was  one  equally  rich  in  its  details,  any- 
thing so  elaborate  as  these  hangings  would  be  out  of  place. 

The  great  advance  that  has  been  made  in  artistic  metal-working  in  this 


252 


THE  INTERNATIONAL  EXHIBITION,  1876. 


country  within  late  years  was  excellently  well  illustrated  by  the  various  displays 
made  by  the  several  exhibitors  in  the  section  of  the  United  States  department 


Porcelain  Vase:  French  Court. 


in  the  Main  Building  devoted  to  this  branch  of  industry.  Our  illustration  on 
page  246  represents  a Bronze  Sanctuary  Lamp,  manufactured  by  Mitchell, 
Vance  & Co.,  of  New  York,  whose  department  was  particularly  rich  in  art- 


INDUSTRIAL  ART. 


253 


work  of  a high  order 
of  excellence.  The 
graceful  character  of 
the  design  in  this  ex- 
ample is  well  shown 
in  our  engraving.  By 
an  ingenious  piece  of 
mechanism  the  lamp 
can  be  raised  or  low- 
ered any  desired  dis- 
tance, where  it  is  held 
in  position  by  bal- 
ancing-weights. In 
contrivances  such  as 
this,  ingenious  devices 
for  economizinor  labor, 
any  one  who  has 
studied  the  handicraft 
of  foreign  nations  and 
our  own  must  admit 
that  we  are  pre-emi- 
nent. In  art -know- 
ledge, that  can  only 
become  general  when 
we  have  a systema- 
tized art -instruction 
with  abundance  of 
good  examples  to 
study  from,  we  are 
still  woefully  deficient, 
but  we  are  convinced 
that,  with  the  means 

of  study  supplied,  our  workmen  will  avail  themselves  of  the  opportunity  with 
a quickness  and  aptitude  which  will  redound  to  their  credit. 


Lace  Curtain  : English  Court. 


254 


THE  INTERNATIONAL  EXHIBITION,  1876. 


No  one  glancing  at  our  engraving  on  page  247  would  imagine  that  it  was 
other  than  a work  of  art  intended  for  purely  ornamental  purposes.  Only  the 
glass  globe  rising  from  the  amphora  which  the  girl  is  balancing  on  her  shoulder 
betrays  the  use  for  which  this  lovely  bronze  is  designed.  Observing  this,  we 


know  at  once  that  this 
globe  conceals  a gas- 
burner,  and  that  the 
place  for  this  figure  is 
the  newel -post  of  a 
stairway,  or  in  some 
other  position  where 
li<jht  is  needed.  We 
are  not  disposed  to 
acrree  with  those  art- 

o 

advocates  who  depre- 
cate the  use  of  figures 
such  as  this  for  pur- 
poses of  this  kind, 
though  we  heartily 
condemn  the  absurd 
disproportion  which 
is  often  seen  between 
thefiorures  themselves 

o 

and  the  illuminatinof 
apparatus  they  have 
to  bear.  Unquestion- 
ably this  graceful 


Eve  A’ursinif  Cain  and  Abel : Terra-cotta  in 
English  Court. 


water-jar  poised  on 
her  shoulder,  is  a fin- 
ished group,  and  all 
above  the  jar  is  out 
of  place,  and  in  a 
sense,  inharmonious; 
yet  the  addition  is  so 
evident  and  so  en- 
tirely separated  from 
the  figure  itself  as  to 
work  its  own  remedy, 
and  in  contemplating 
the  one  we  pay  little 
or  no  attention  to  the 
other.  Especially  at 


nio-ht  when  the 


gas 


IS 


lit  is  this  separation 
the  more  complete, 
and  for  that  matter 
there  is  no  reason 
why  everything  not 
immediately  pertain- 
ine  to  the  statue  could 


not  be  so  arranged  as 


Greek  girl,  with  the 
to  be  removed  during  the  day,  if  any  one  so  desired. 

Examples  of  jewelry,  manufactured  by  Messrs.  Geissel  & H.\rtrung,  of 
Uanau,  Germany,  are  shown  on  page  248,  in  illustration  of  the  styles  of 
workmanship  popular  among  the  women  of  that  country.  The  necklace  itself 
is  of  a severely  plain  pattern,  but  the  pendant  hanging  from  it  is  quite  elabo- 
rate. • This  latter  is  of  finely-chased  gold  and  filigree-work,  something  after  the 


INDUSTRIAL  ART. 


255 


manner  of  the  Florentines.  In  the  ear-rings  we  have  specimens  of  cameo- 
cutting— one  the  portrait  of  a lady,  and  the  other  a fanciful  subject,  a Cupid 
in  a bower  of  ferns,  pouring  water  through  a hollow  log. 

It  is  hardly  necessary  to  inform  those  of  our  readers  who  have  come  with 
us  thus  far  that  the  illustration  on  page  249  represents  another  of  the  charming 
pieces  of  work  designed  and  executed  under  the  auspices  of  the  Royal  School 
OF  Art  Needlework,  in  London.  The  design  was  doubtless  made  by  one  of 


the  artists  employed  by  that  institution,  after  which  it  was  embroidered  upon 
the  cloth  and  mounted  as  we  see  it  here.  A fourth  panel,  concealed  from  view 
in  the  illustration,  but  similar  in  character  to  the  one  on  the  right,  completes 
the  harmony  of  the  design,  which  is  in  every  way  admirable. 

In  a country-house  or  in  any  dwelling  where  gas  is  not  in  use,  the  Lamp- 
Stand  of  German  manufacture,  shown  in  our  illustration  on  page  250,  would  be 
about  as  pretty  and  useful  an  article  for  the  purpose  as  could  be  devised.  It  is 
light  and  graceful  in  shape,  and  yet  of  sufficient  weight  to  withstand  any  ordinary 
jar.  The  lamps  are  raised  to  a sufficient  height  to  be  out  of  the  way  and  to 


256 


THE  INTERNATIONAL  EXHIBITION,  1 8 y 6. 


give  their  light  the  proper  elevation,  while  a broad,  shallow  vase  is  added  to 
the  top,  in  which  flowers  may  be  arranged  to  advantage. 


Washington  Race  - Cup  : Tiffany  Co. 


i 


The  Doulton  Pottery,  of  which  we  have  spoken  at  length  in  a*  former 
number,  is  seen  in  our  engraving  on  page  251,  which  well  illustrates  the  variety 
and  artistic  excellence  of  the  pieces  made  by  the  Company  that  gives  its  name 


INDU STRI AL  ART 


257 


to  the  ware.  The  absence  of  all  overloading  in  ornamentation  or  of  mere- 
tricious decoration  is  particularly  noticeable  in  these  pieces,  each  one  of  which 
is  eminently  satisfactory  in  itself,  and  gives  evidence  of  a thorough,  intelligent 
study  on  the  part  of  the  artist  who  designed  it. 

Pottery  of  the  highest  class,  as  far  as  material  is  concerned  and  of  merito- 
rious decoration,  is  seen  in  the  Porcelain  Vase,  illustrated  on  page  252,  which 
was  exhibited  in  the  French  Court.  From  the  character  of  the  design  which 
covers  the  body  of  the  piece — a fox  and  implements  of  the  chase — it  is  possible 
that  the  vase  may  have  been  intended  as  a hunting-trophy,  to  be  presented  to 
some  victor  who  has  followed  the  hounds  and  been  in  first  at  the  death. 


Pi/t-  Cushions  : Royal  School  of  Needlework. 


The  Lace  Curtain,  from  the  English  Department,  shown  in  our  engraving 
on  page  253,  illustrates  a favorite  style  of  design  for  the  decoration  of  these 
fabrics.  It  has  more  solidity  than  the  ordinary  flower-  and  fern-patterns,  and 
the  effect  of  the  curtain  when  hanging  in  folds  is  heavy  and  rich.  The  con- 
ventional treatment  of  the  palm-leaf,  common  in  the  decoration  of  Indian  fabrics, 
is  introduced  here  with  striking  effect ; and  In  addition  to  these  figures,  garlands 
of  flowers  depending  from  arches  make  a pleasing  pattern  for  the  centre  of 
the  piece.  It  is  well  to  observe  how  artistically  the  designer  has  preserved  a 
proper  balance  in  this  elaborate  work,  lightening  the  figure  above  and  massing 
it  in  the  lower  portion. 

In  a previous  number  we  have  advocated  the  use  of  terra-cotta  for  pur- 


258 


THE  INTERNATIONAL  EX  H I B I T 1 0 N,  1 8 7 6. 


poses  of  architectural  and  ornamental  construction  as  one  of  the  cheapest  and 
most  durable  materials  known,  particularly  recommending  itself  on  account  of 
the  facility  with  which  it  can  be  modeled.  Now,  however,  we  would  call  atten- 
tion to  its  adaptability  for  works  of  art,  especially  for  those  of  large  size 

become  a favorite 
medium  of  expres- 


and those  liable  to 
exposure  to  the 


weather.  All  gar- 
den statuary,  foun- 
tains and  lawn  orna- 
ments come  within 
these  classes,  and 
can  be  made  in 
terra-cotta  as  well, 
if  not  better,  than 
in  any  other  material 
cast  in  a mould.  The 
great  difficulty  so 
far  attendinor  the  use 

o 

of  terra-cotta  for 
small  and  delicate 
objects,  such  as  stat- 
uettes, has  been  the 
unequal  shrinkage 
of  the  material  in 
drying,  but  this  is 
being  rapidly  over- 
come, and  we  may 
hope  soon  to  see  it 


Clock,  Louis  XIII : Susse  Freres,  Paris. 


sion  for  artists. 

Our  illustration 
on  page  254  rep- 
resents an  artistic 
group  manufactured 
in  terra-cotta  and 
exhibited  in  the 
English  department 
by  the  Watcomb 
Terra-cotta  Com- 
pany. The  subject 
is  the  famous  French 
statue  of  Eve  nurs- 
ing Cain  and  Abel, 
or  “The  First 
Cradle,”  and  the 
work  is  a capital 
reproduction  of  the 
original.  The  beau- 
tiful, even  tint  of  a 
warm  fawn  . color 
given  to  the  ma- 


terial adds  greatly  to  its  appearance  ,and  to  the  beauty  of  the  group. 

On  page  255  we  engrave  an  illustration  of  one  of  the  admirably-executed 
bas-reliefs  in  terra-cotta  in  the  exhibition  of  Madame  Ipsen,  of  Copenhagen,  in 
the  Danish  Court.  This  charming  group  is  after  Thorwaldsen’s  fine  original — 
Ganymede,  “the  most  beautiful  among  mortals.”  It  will  be  remembered  that 
while  the  earlier  legends  tell  how  the  youth  was  made  cup-bearer  to  the 


INDUSTRIAL  ART. 


259 


immortals,  later  writers  assert  that  Zeus  caused  an  eagle  to  bear  him  up  to  the 
abode  of  the  gods.  Knowing  this,  we  see  how  the  artist  has  suggested  both 
episodes  in  his  arrangement  of  the  group  before  us. 

The  Centennial  Race  Trophy,  illustrated  in  our  engraving  on  page  256, 


was  another  of  the  ex- 
cellent examples  of 
silver-work  by  which 
the  Messrs.  Tiffany 
maintained  their  repu- 
tation as  art-workers 
in  the  precious  metals, 
and  excited  the  admi- 
ration of  our  foreign 
visitors  at  the  Centen- 
nial. We  say  another, 
in  reference  to  the  sev- 
eral elegant  examples 
already  presented  to 
our  readers  in  these 
pages.  Too  much 
credit  can  hardly  be 
accorded  to  this  enter- 
prising firm  for  the 
prestige  they  gave  to 
the  department  of  the 
Exhibition  in  which 
their  stall  was  located. 
Their  display  of  art- 


Candelabra,  Louis  XIV : Susse  Fr'eres,  Paris. 


istic  work  in  all  the 
branches  of  their  trade 
not  only  redounded  to 
their  own  credit,  but 
gave  evidence  of  the 
culture  and  refinement 
and  wealth  of  the  com- 
munity where  such 
choice  objects  could 
find  a market. 

The  elegant  group 
before  us  was  made 
as  a substitute  for  the 
usual  cup  prize  given 
at  race-meetings,  and 
offered  for  the  1876 
Fall  Meeting  of  the 
New  York  Jockey 
Club,  as  the  gift  of 
Mr.  August  Belmont. 
The  fortunate  winner 
was  Mr.  George  Loril- 
lard’s  “Tom  Ochiltree.” 

It  was  desired,  in 


order  to  give  distinction  to  the  prize  in  the  great  racing  event  of  the  Centen- 
nial year,  to  connect  the  two  subjects  of  patriotism  and  horses,  which  has  been 
admirably  done  by  the  artist  of  Messrs.  Tiffany  & Co.,  who  conceived  the 
happy  idea  of  introducing  Washington  in  the  role — less  familiar  to  us  than  that 
of  soldier  or  statesman — of  a raiser  of  fine  horses. 

Irving,  in  his  “Life  of  Washington,”  says:  “I  have  just  seen  Washington’s 


26o 


THE  INTERN  AT  ION  A L EXHIBITION,  i8j6. 


horses ; they  are  as  good  as  they  are  beautiful,  and  all  splendidly  trained.  He 
trains  them  himself.” 

The  figure  of  Washington  is  a remarkably  sympathetic  and  expressive 
likeness.  His  hand  is  resting  in  graceful  ease  upon  the  shoulder  of  the 
thoroughbred  mare,  who  is  leaning  over  a colt  that  bears  its  mother’s  points 
of  beauty,  though  undeveloped,  and  both  animals  seem  under  the  benign  influ- 
ence of  a poetical  power  that  has  won  their  confidence. 

This  group  was  a bold  attempt  in  silver-work,  and  though  there  are  a few 


Benvenuto  Cellini  Helmet:  Italian  Court. 


points  in  the  modeling  which  we  think  might  be  improved,  it  ranked  high 
among  the  metal  sculptures  of  the  Exhibition. 

Examples  of  the  embroidery  exhibited  by  the  Royal  School  of  Art 
Needlework  are  shown  on  page  257.  These  pieces  include  cushions,  mats  and 
furniture-covers,  or,  as  they  are  still  called  in  England,  notwithstanding  the 
vulgarity  of  the  name,  anti-macassars.  Each  of  the  designs  here  shown  is 
thoroughly  artistic,  and  of  a character  suited  to  the  work.  No  attempt  is  made 
at  pictorial  representation,  the  nearest  approach  to  anything  of  the  kind  being 
the  birds  on  the  scroll  of  branches  in  the  central  piece.  How  much  more  satis- 
factory this  is  than  the  fashion,  not  yet  out  of  date,  of  attempting  to  copy 
natural  objects  in  Berlin  wool ! Who  does  not  remember  the  animal  mon- 


INDU ST RT AL  ART. 


261 


strosities  depicted  upon  canvass,  that  we  have  been  expected  to  admire  ? — the 
green  dogs  with  pink  eyes,  and  the  beasts  that  resembled  nothing  in  the  whole 
range  of  natural  history.  Neither  the  heavens  above,  nor  the  earth  beneath, 
nor  the  waters  under  the  earth,  contained  such  things. 

A pleasing  ornament  for  any  room  is  the  Clock  manufactured  by  Susse 
Freres,  of  Paris,  shown  on  page  258.  The  lower  portion  containing  the  clock- 
works may  be  taken  to  represent  the  base  or  pedestal  of  the  statue  of  the 


Shield  of  Henry  IV : Italian  Court. 


Amazonian  warrior  which  forms  the  chief  ornament.  The  shape  of  this  base  and 
the  ornamentation  upon  it  is  of  a strictly  classical  character.  It  resembles  the 
entrance  to  some  ancient  temple,  above  which  this  warrior  is  seated  as  the  type 
of  the  goddess  of  Victory. 

Another  fine  work  in  bronze  exhibited  by  Susse  Freres  is  the  Candelabra 
engraved  on  page  259.  This  elegant  object  has  all  the  richness  of  form  and 
ornamentation  of  the  time  of  Louis  XIV.  Male  and  female  masks  are  freely 
introduced,  and  much  attention  is  given  to  the  chasing  and  detail  of  the 
several  parts. 


262 


THE  I NTERN  AT  1 0 X A L EXHIBITIO-N,  i8j6. 


The  perfection  of  metal-working,  as  far  as  vigorous  design  and  brilliant 
execution  are  concerned,  was  reached  by  that  master  workman,  Benvenuto 
Cellini,  so  liberally  patronized  by  Pope  Clement  VII  and  King  Francis  I.  The 
Helmet  engraved  on  page  260  is  attributed  to  him,  and  certainly  it  is  a superb 
piece  of  work.  The  only  absolutely  authentic  works  by  this  great  artist,  known 
at  present,  are  a gold  salt-cellar  in  the  Vienna  Museum  and  three  or  four  cups 
and  medals  In  the  Florence  Gallery;  and  while  doubtless  among  the  many 


Vase : Collective  Exhibit  of  Gien  ct  I.oiret. 


thousands  of  articles  treasured  as  Cellini’s  work,  many  are  worthy  of  his  chisel, 
and  some  are  probably  by  him,  yet  we  cannot  be  too  careful  in  comparing 
them  with  the  known  pieces  before  we  pronounce  upon  them. 

Another  remarkable  piece  of  metal-work  is  the  famous  Shield  of  Henry  IV, 
engraved  on  page  261.  The  chasing  Is  of  the  most  elaborate  description,  and 
the  design,  as  will  be  seen  by  examining  our  illustration,  contains  a multitude 
of  figures.  The  richness  and  elegance  of  the  border  are  particularly  noteworthy. 

Both  these  pieces  were  reproduced  in  electro,  and  exhibited  in  the  Italian 
Court  at  the  Centennial. 


/ A’  D U S I'R  I AL  ART. 


263 


'Fhe  collective  exhibit  ol  Gien  et  Loiret,  in  the  French  Court,  contained 
a bewildering  display  of  faience.  Examples  ot  almost  every  style  obtaining  in 
France  through  successive  reigns  were  here  to  be  seen,  but  the  pottery  was 
principallv  remarkable  for  the  brilliancy  and  combinations  of  the  colors  used. 

A fine  specimen  of  this  fabrique  is  illustrated  on  page  262.  It  is  a large 
oval  V'a.se,  very  finely  modeled,  with  masks  in  relief,  and  decorated  on  the  sides 


Faience : French  Court. 


with  medallions  containing  figure-subjects.  The  design  before  us  represents  a 
sleeping  Venus,  whom  Cupid  is  awakening  by  music.  The  conceit  is  a pretty 
one,  and  furnishes  the  artist  with  a lovely  theme  for  illustration. 

Other  examples  of  French  Faience,  more  or  less  elaborate,  are  seen  in 
our  illustration  on  this  page.  The  covered  dish  shows  much  elaborateness  of 
detail  in  the  decoration,  and  the  dessert-plate  an  equal  delicacy  and  refinement 
of  treatment.  The  handle  to  the  beer-mug,  on  the  left,  in  its  close  imitation 
of  nature  is  in  striking  contrast  with  the  decoration  in  the  body  of  the  mug. 


264 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Cabinet-Sideboard : Cooper  Holt,  London. 


A capital  design,  simple  yet  effective,  and  thoroughly  artistic,  is  seen  on  the 
unpretentious  pitcher  on  the  right  of  the  group. 

The  Cabinet  Sideboard  illlustrated  on  tliis  page,  one  piece  of  a suit  of 


INDUSTRIAL  ART 


265 


dining-room  furniture  exhibited  by  Messrs.  Cooper  & Holt,  of  London,  is  a 
noble  piece  of  workmanship.  Its  height  and  breadth  make  it  unsuitable  for 
any  other  than  a large  room,  but,  suitably  placed,  its  fine  proportions  and  artistic 


Porcelain  Vase  : Chinese  Court. 


ornamentation  would  attract  attention.  Brilliant  gold  and  color  decoration  is 
introduced  with  great  effect  into  the  carved  under-surface  of  the  pediment  above 
the  mirror,  and  handsomely  painted  tiles  are  inserted  in  the  panels  of  the  doors 
on  either  side.  In  the  lower  portion,  the  panels  contain  rich  and  elaborate  carving 


266 


THE  INTERNATIONAL  EXHIBITION,  1876. 


in  relief.  Various  recesses  and  shelves  are  arranged  for  the  display  of  china 
and  plate,  and  the  artist  evidently  studied  the  effect  that  would  be  produced 
when  the  whole  was,  so  to  speak,  furnished,  when  making  his  design. 

The  subject  of  our  illustration  on  page  265  is  a Chinese  Porcelain  Vase, 
of  an  unusually  large  size,  fine  in  quality,  rich  in  color,  and  of  superior  finish. 
These  points  of  excellence  would  be  noted  by  the  dealer  or  the  connoisseur, 
but  to  the  ordinary  observer  who  has  little  or  no  knowledge  concerning  these 
matters,  the  vase  is  interesting  chiefiy  on  account  of  the  novelty  of  the  design. 
It  is  the  novelty  that  makes  Japanese  and  Chinese  goods  so  popular  with  us 
and  Europeans.  In  form,  construction,  ornamentation,  and  decoration,  the 
products  of  these  nations  are  different  from  an\thing  produced  elsewhere. 
Particularly  are  their  pictorial  representations  interesting,  because  they  illustrate 
costumes,  custom  and  a life  that  might  belong  to  a different  world,  so  opposed 
are  they  to  our  notions  of  the  fitness  of  things.  Take,  for  example,  the  group 
before  us  in  this  engraving.  Doubtless  to  a Chinaman  these  figures  appear 
all  right,  but  to  us  they  seem  all  wrong.  The  idea  of  men  being  arrayed  in 
such  garments  as  these,  and  their  hair  done  up  after  that  fashion  ! Even  with 
their  sex  evidenced  by  the  moustachios,  we  are  half  inclined  to  doubt  the  man- 
hood of  these  individuals.  If  the  Chinese  mythology  included  three  Graces,  we 
should  be  inclined  to  think  that  the  artist,  a Celestial  satirist,  was  indulging  his 
humor  by  picturing  those  beautiful  women  on  a masquerading  escapade.  Never- 
theless, for  aught  we  know  to  the  contrary,  they  may  be  three  worthy  citizens 
taking  a Sunday  afternoon  walk  in  their  best  clothes,  or  the  three  mightiest 
potentates  of  the  empire,  before  whom  even  the  cats  of  China  blink.  Yet  let 
the  reader  consider  for  the  moment  that,  allowing  for  a little  extravagance  in 
the  detail,  we  have  before  us  a representation  of  costumes  worn  of  men,  as 
accurately  portrayed  as  the  fashions  on  the  plates  in  a tailor’s  window.  Look 
at  the  man  on  the  left  with  a small  parasol  stuck  into  his  head.  Observe  the 
central  figure:  what  a coiffure  he  has  made  already,  and  apparently  he  is  still 
at  work  on  his  back  hair.  The  third  man  seems  to  be  less  of  a dandy  than 
his  companions,  yet  even  he  has  made  his  modest  pigtail  attractive  by  twisting 
it  into  an  artistic  knot.  As  for  the  costumes,  Mrs.  Swishelm  herself  could  not 
invent  or  name  such  garments.  And  yet  these  fashions  are  the  expression  of  the 
oldest  civilization  on  the  face  of  the  globe,  of  a people  who  have  always  prided 


INDUSTRIAL  ART. 


267 


themselves  on  their  clothes ! According  to  the  Christian  belief,  the  first  mother 
covered  her  nakedness  with  a fig-leaf,  but  the  Chinese  Eve  discovered  silk  and 
wove  a fabric  of  the  thread  and  made  a fine  gown  for  herself  Blessed  amoiiLr 
women  should  she  be! 

Yet  suppose,  having  had  our  laugh  at  these  heathen,  we  look  for  a moment 


Furniture  Silk  : French  Collective  Exhibit. 


at  our  manner  of  dressing.  It  does  not  require  a Chinese  standpoint  of  view 
to  see  that  much  of  it  is  monstrous — not  the  men’s  fashions  (they  are  well 
enough),  but  those  of  the  women.  Do  not  they  torture  their  feet  and  contract 
their  waists  and  place  protuberances  on  their  persons  and  erect  constructions 
on  their  heads — in  short,  deform  their  natural  shapes?  The  female  form  is  our 
type  of  beauty,  and  the  Greek  idealists  are  recognized  as  having  given  it  most 
perfect  expression  in  their  statues.  One — a man  at  least — would  think,  there- 
fore, that  women  would  endeavor  modestly  to  clothe  themselves  so  as  to  preserve 


268 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 7 6. 


if  not  to  betray  the  sym- 
metry of  a perfect  figure. 
If  not  well  formed  by  na- 
ture, it  is  reasonable  and 
perhaps  justifiable  that 
they  should  resort  to  art ; 
but  to  go  beyond  this,  to 
mar  their  own  beauty, — 
that  women  should  do 
this  would  be  inconceiv- 
able, if  we  had  not  the 
evidence  always  before 
us.  Few  women  pause 
to  consider  how  these 
changes  of  fashion  from 
the  simple  robe  girdled 
at  the  waist  have  been 
brought  about ; why  one 
portion  of  the  figure  is 
exaggerated  and  another 
contracted.  We  think 
perhaps  it  would  be  better 
If  they  did  ; for  certainly 
no  intelligent  woman  can 
do  this  without  discover- 
ing that  sensuality  is  a 
o'overning  motive. 

o o 

On  page  267  we  illus- 
trate two  different  pat- 
terns of  Furniture  Silk 

Lace : Collective  Exhibit  of  Brussels.  ColleCtivO  Ex- 

hibit in  the  French  Court. 

They  prove  that,  notwithstanding  the  advice  of  would-be  reformers  of  taste, 
the  public  continue  to  demand  the  very  designs  in  textile  fabrics  which  they 


Bohemian  Glass  Vase  and  Pedestal : Lobmeyr,  Vienna. 


2^0 


THE  INTERNATIONAL  EXHIBITION,  1876. 


declaim  most  against.  These  instructors  say  that  to  have  wreaths  and  garlands 
of  flowers,  imitating  nature,  woven  into  a carpet  which  we  walk  over,  or  into 
a fabric  which  we  sit  down  upon,  is  quite  contrary  to  the  canons  of  aesthetic 
art;  yet,  for  all  that,  the  best  skill  of  French  workmen,  the  most  artistic  work- 


The  Amazon  (bronzed  zinc)  : y.  L.  Mott  Iron  Co.,  Xew  York. 


men  in  the  world,  continues  to  be  employed  in  weaving  just  such  patterns  into 
the  finest  and  most  costly  fabrics  used  for  the  purposes  named. 

The  example  of  Lace  which  we  engrave  on  page  268  from  the  collective 
exhibit  of  Brussels  differs  only  in  elaborateness  and  pattern  from  the  speci- 
mens already  illustrated.  Like  those  the  fancy  of  the  designer  here  has  brought 


INDUSTRIAL  ART. 


271 


Bowers  and  ferns  together  in  beautiful  groupings,  and  the  skill  of  the  lace- 
worker  has  been  taxed  to  reproduce  the  pattern,  thread  by  thread  and  stitch 
by  stitch,  in  the  delicate  network  which  keeps  the  figures  in  the  place. 

It  seems  hardly  credible  that  the  elaborate  Vase  and  Pedestal,  seen  in 
our  engraving  on  page  269,  is  made  entirely  of  glass;  yet  if  the  reader  saw 


Repousse  PUited  Ware:  Reed  6^  Barton,  Taunton. 

or  could  have  seen  the  original,  he  must  have  wondered  the  more  that  all  that 
richness  of  color,  gilding,  high  relief,  ornamentation,  and  delicate  tracery  of 
intricate  design  could  be  produced  m that  material.  It  may  well  be  considered 
a triumph  in  that  branch  of  manufacture.  As  we  recall  the  remarkable  exhibit 
of  Lobmeyr,  of  Vienna,  from  whose  collection  this  vase  is  illustrated,  it  seems 
as  if  every  known  method  of  manipulating  glass  had  its  example  there.  But 


272 


THE  INTERNATIONAL  EXHIBITION,  1876. 


a chief  place  in  the  display  was  given  to  the  exhibition  of  the  manufacturers’ 
latest  discovery,  the  method  of  enameling  a transparent  glass  of  one  color  upon 
another,  so  that,  by  grinding  down  the  outer  covering  or  cutting  through  to  the 
under  surface,  a variety  of  hues  and  colors  especially  brilliant  and  pleasing  was 
produced.  This  vase  is  an  example  of  this  process. 

The  famous  statue  of  “The  Amazon”  engraved  on  page  270  is  a favorite 
subject  for  reproduction  in  marble,  bronze,  the  precious  metals,  and  clay.  It 
forms  the  ornamental  portion  to  innumerable  clocks,  paper-weights  and  trifles 
for  the  desk  or  mantel-shelf  We  have  even  seen  a gas-burner  attached  to  the 


Faience : Indian  Conri. 


Amazon’s  cap,  but  in  the  present  instance  the  group  is  intended  to  serve  only 
its  original  purpose.  It  has  been  cast  in  zinc  and  bronzed  by  the  J.  L.  Morr 
Iron  Co.,  of  New  York,  and  is  a very  excellent  piece  of  work.  The  muscles 
of  the  beasts,  the  expression  of  the  woman,  the  texture  of  skin,  hide  and  hair, 
each  and  all  have  come  out  remarkably  clear  and  distinct. 

The  group  of  plated  ware  from  the  exhibit  of  Reed  & Barton,  illustrated 
on  page  271,  shows  to  what  perfection  this  branch  of  manufacture  has  been 
brought  in  this  country.  As  far  as  beauty  of  form  and  elaborateness  of  design 
go,  no  greater  amount  of  work  or  more  careful  study  of  detail  could  be  desired 
even  if  it  was  to  be  expended  upon  a service  of  solid  metal. 

Several  examples  of  the  curious  faience  of  India,  exhibited  by  the  British 


INDUSTRIAL  ART. 


273 


Government,  are  shown  in  our  illustration  on  page  272.  The  decoration  upon 
them  is  simple,  yet  highly  artistic,  free  in  execution,  and  admirably  suited  to  the 
material  and  the  object  itself.  The  forms  are  all  graceful,  the  most  pleasing, 
perhaps,  being  the  flat  vase  with  tall,  lily-shaped  neck.  The  incised  work  shows 
the  scrolls,  palm-leaves,  etc.,  which  we  commonly  see  on  oriental  textiles. 

Another  curious  ware  is  the  faience  of  Russia,  characterized  by  a certain 
angularity  of  outline  and  a tendency  to  follow  geometric  lines  and  patterns  in 
decoration.  The  colors  usually  are  uncommonly  rich  and  well  contrasted,  the 
effect  being  heightened  by  the  separating  line  between  the  colors  being 
depressed,  as  if  the  pattern  had  been  traced  by  a fine  blunt  instrument  upon 


Faience : Russian  Court. 


the  green  ware.  This  makes  little  cushions,  which,  when  colored,  give  to  the 
whole  an  appearance  suggestive  of  the  squares  of  worsted  on  canvass-work. 
We  engrave  a number  of  specimens  of  this  ware  on  this  page,  the  group  being 
made  up  from  the  display  in  the  Russian  Court. 

On  page  274  we  engrave  an  illustration  of  a very  remarkable  example  of 
wood-carving  exhibited  in  the  Italian  Court.  It  is  the  work  of  Signor  Luigi,  a 
famous  artist  in  this  particular,  and  will  be  found  well  to  repay  careful  exami- 
nation. It  was  a very  bold  conception  thus  to  make  a portion  of  a ruin, 
overgrown  with  clinging  and  climbing  plants,  the  motif  for  a piece  of  furniture,  yet 
the  artist  has  treated  his  theme  with  consummate  skill.  All  the  details  have 
been  carefully  studied  and  are  elaborately  wrought,  the  evidence  of  a master- 
hand  being  visible  in  every  mark  of  the  chisel. 

Many  of  our  readers  will  recognize  with  pleasure  the  subject  of  our  illus- 


274 


THE  INTERNA  110  HAL  EXHIBITION,  rSj6. 


Wood-Carving : Italian  Court. 


INDUSTRIAL  ART. 


275 


tration  on  page  276.  It  is  the  famous  Bryant  Vase  presented  to  the  honored 
poet  by  his  friends  and  countrymen  on  the  eightieth  anniversary  of  his  birthday. 
It  is  undoubtedly  one  of  the  most  important  pieces  of  artistic  silver-work  ever 
produced  in  this  country.  Both  for  its  intrinsic  excellence  and  the  pleasant 
associations  surrounding  it,  it  fitly  occupied  a central  place  of  honor  in  the 
Main  Building  at  the  Centennial,  and  perhaps  no  single  object  in  the  whole 
American  Court  attracted  more  attention  than  this  testimonial  to  William 
Cullen  Bryant. 

The  vase  was  designed  by  Mr.  James  H.  Whitehouse,  chief  artist  of 
Messrs.  Tiffany  & Co.,  of  New  York,  by  whom  it  was  made.  We  cannot  do 
better  than  give  the  reader  the  artist’s  own  description  of  his  work : — 

“It  is  intended  to  symbolize  Mr.  Bryant’s  life  and  character  through  the 
medium  of  a classic  form,  covered  with  ornamentation  drawn  from  nature,  and 
suggested  by  his  works.  As  in  Mr.  Bryant’s  career  there  has  been  nothing 
inharmonious,  all  the  details  of  this  design  are  made  subordinate  to  the  simple 
classic  outline  which  is  preserved  unbroken.  The  heavier  lines  of  the  fretwork 
are  derived  from  the  apple-branch,  which  suggests  that  while  Mr.  Bryant’s 
writings  are  beautiful,  they  also  bear  a moral : as  the  apple-tree  blooms  with 
a beautiful  flower  in  the  spring,  and  in  the  autumn  bears  fruit.  Poetry  is  sym- 
bolized by  the  eglantine,  and  immortality  by  the  amaranth,  which  is  said  never 
to  lose  its  fragrance,  and  these  are  blended  with  the  lines  formed  of  the  apple- 
branch. 

“The  primrose,  for  early  youth,  and  ivy  for  age,  form  a border  directly 
above  the  handles.  Encircling  the  neck  at  the  narrowest  part,  the  immortal 
line,  ‘Truth  crushed  to  earth  shall  rise  again,’  is  rendered  verbatim,  the  begin- 
ning and  end  being  separated  by  a representation  of  the  fringed  gentian,  which 
Mr.  Bryant  remembers  in  one  of  his  poems  as  always  pointing  to  heaven. 
Eras  in  the  poet’s  life  are  illustrated  by  a series  of  bas-reliefs.  In  the  first,  as 
a child,  looking  up  with  veneration  at  a bust  of  Homer,  to  which  his  father 
points  as  a model.  The  second  shows  him  in  the  woods,  reclining  in  a medi- 
tative attitude  under  the  trees.  Between  the  first  and  second  of  these  medallion 
pictures  is  a portrait  of  the  poet,  laurel-crowned.  Above  this,  the  lyre  for  Mr. 
Bryant’s  verse  ; and  beneath,  the  most  primitive  printing-press,  for  his  connec- 
tion for  over  half  a century  with  the  ‘New  York  Evening  Post.’  In  a smaller 


2/6 


THE  INTERNATIONAL  EXHIBITION,  i8j6. 


medallion  is  the 
waterfowl,  used 
by  Mr,  Bryant 
as  an  emblem 
of  faith,  and 
introduced  for 
that  reason  as 
the  key-note  of 
his  writings. 
The  ornament 
around  the  low- 
er part  of  the 
vase  is  of  the 
Indian  corn, 
with  a single 
band  of  cotton- 
leaves,  and  at 
the  foot  is  the 
water-lily,  em- 
blematic of  elo- 
quence, for  Mr. 
Bryant’s  ora- 
tory. The  han- 
dles are  in  har- 
mony with  the 
general  outline, 
but  subordinate 
to  it,  and  as  hu- 
mor is  a subor- 
dinate element 
in  Mr.  Bryant’s 
writings,  it  is 
suggested  here 
by  the  Ameri- 


The  Bryant  Vase:  Tiffany  Co.,  New  York. 


can  bob-o’link 
for  the  humor- 
ous poem  of 
‘Robert  of  1 Lin- 
coln.’ The  two 
great  American 
staples  are  in- 
troduced to 
complete  the 
ornamentation 

of  the  handles 
✓ 

— the  stalk,  leaf 

and  grain  of  the 

Indian  corn  on 

the  inside,  and 

the  bud,  flower 

and  ripened  boll 

of  the  cotton  on 

the  outside.  On 

the  base  which 

supports  the 

vase  is  the  lyre 

for  verse,  which 

with  the  broken 

shackles  point 

to  Mr.  Brvant’s 
✓ 

services  in  the 
cause  of  Eman- 
cipation. 

“The  design- 
er has  intro- 
duced symbols 
from  nature,  as 
the  fittest  means 


INDUSTRIAL  ART. 


277 


of  illustrating  the  life  of  an  author  whose  writings  teem  with  symbols  drawn 
from  the  same  source,  and  has  intended  to  brino-  unity  out  of  elaborate  detail.” 


On  this  page  we  engrave  two  examples  of  Curtain  Borders  from  the 
exhibition  made  by  the  Royal  School  of  Art-Needlework.  The  first  of  these 


Curtain  Borders  : Royal  School  of  Art-Needlework. 


2/8 


THE  INTERNATIONAL  EXHIBITION,  1876. 


is  an  exceedingly  effective  piece  of  work.  The  flower-sprays  are  embroidered 
on  a dark,  chocolate-colored  cloth,  admirably  suited  in  tone  to  the  colors  of 
the  leaves  and  blossoms  of  the  plant.  The  design,  too,  is  a beautifully  graceful 
one,  copying  nature,  but  treating  the  subject  in  such  a manner  as  to  be  in  no 
way  offensive  to  good  taste.  The  narrowness  of  the  border,  moreover,  pre- 
cludes the  probability  of  the  unity  of  the  figures  being  destroyed  by  folds  in 
the  curtain.  The  second  design  is  of  an  entirely  different  character,  the  theme 
being  a succession  of  plant-tendrils  and  flowers  conventionalized  to  such  an 
extent  and  located  in  such  a manner  as  to  suggest  the  Pompeiian  borders 
which  are  familiar  to  all  designers.  In  this  as  in  the  other  example,  the  pattern 


Bracelet : Krumbuge! , Russian  Court. 


has  been  wrought  in  the  fabric  with  threads  of  different  colors,  or  true 
embroidery. 

We  are  pleased  to  see  that  this  kind  of  work  is  finding  favor  among  the 
women  of  this  country,  and  that  already  schools  of  design  and  needlework  are 
forming  in  several  of  our  cities.  We  believe  that  as  soon  as' the  absurd  preju- 
dice, too  long  obtaining  among  the  decayed  gentility  classes  in  this  country, 
against  manual  labor  for  women  has  been  overcome,  that  a new  and  powerful 
impetus  will  be  given  to  the  progress  of  all  branches  of  decorative  art  among 
us.  The  field  is  an  extensive  one,  and  one  peculiarly  fitted  for  women  to  work 
with  profit  and  success. 

In  this  connection  we  cannot  refrain  from  calling  attention  to  a circum- 
stance that  recently  came  to  the  knowledge  of  the  public.  It  appears  that  a 
certain  well-known  citizen  of  New  York,  who  had  become  involved  in  difficul- 
ties of  one  kind  and  another,  fled  to  Europe,  and  an  investigation  of  his  affairs 
discovered  that  his  family  were  reduced  from  wealth  to  poverty.  But  during 
the  days  of  his  prosperity  he  had  taken  care  to  provide  for  his  children  in  a 


INDUSTRIAL  ART. 


279 


manner  that  no  mutations  of  fortune  could  rob  them  of.  Each  of  his  daughters, 
beside  receiving  the  education  usual  for  girls  in  their  position,  had  been  taught 
a trade  or  profession.  One  was  a competent  drawing-teacher,  another  a thorough 


yeweled  Pendants  : Starr  Afarci/s,  A'ew  Vort:.  Bonbonniere  : M.  Boucheron,  Paris. 


musician,  and  the  third  had  learned  the  trade  of  a milliner ; so  that  they  had 
the  means  of  making  an  honorable  livelihood  secured  to  them  at  a time  when 
nothing  was  more  improbable  than  that  they  should  have  to  have  recourse  to 


28o 


THE  INTERNATIONAL  EXHIBITION,  18.76. 


these  means.  The  moral  of  the  story  is  plain,  and  that  it  is  worth  heeding  is 
evidenced  by  the  thousands  of  helpless,  poor  women  brought  up  in  luxury  now 
living  on  the  charity  of  their  friends.  It  is  not  their  fault,  poor  creatures,  that 
they  are  in  this  pitiable  state  of  dependence,  but  the  fault  of  their  parents.  If 
the  future  of  girls  was  studied  and  provided  for  with  the  same  care  as  that  of 
boys,  we  should  hear  less  talk  of  woman’s  rights  and  radicalism. 

The  richness  of  the  display  of  gold-  and  silver-work  and  jewelry  in  the 
Russian  Court  at  the  Exhibition  was  a subject  of  common  remark.  The  col- 


Faience : Russian  Court. 


lection  was  ot  bewildering  magnificence,  and  of  a splendor  which,  though  the 
term  is  questionable,  is  best  described  as  barbaric.  The  minute  and  exquisitely 
delicate  workmanship,  such  as  obtains  in  the  south  ot  Europe,  was  not  seen 
here  to  any  extent,  the  characteristic  of  the  work  being  heavy  masses  of  gold, 
brilliantly  enameled,  gleaming  with  jewels — vigorous,  bold  designs,  and  strong 
contrasts  and  massing  of  color.  On  page  278  we  give  an  example  of  Russian 
jewelry  and  goldsmith-work — a Bracelet — from  the  exhibit  of  Krumbugel,  of 
St.  Petersburg.  It  is  an  excellent  illustration  of  the  several  characteristics 
which  we  have  noted. 

As  specimens  of  the  proficiency  of  our  own  countrymen  in  the  jeweler’s 
art,  the  two  pendants  seen  in  our  engraving  on  page  279  are  notable  examples. 


INDUSTRIAL  ART. 


281 


In  the  first,  around  the  superb  central  gem,  are  grouped  wreaths  of  flowers 
composed  of  jewels  set  in  the  finest  possible  frame-work  of  gold.  In  the  second, 
the  art  of  the  chaser  and  engraver  has  been  employed  to  produce  a memorial 
jewel  worthy  of  the  event  inscribed  in  the  legend.  Both  of  these  princely 


ornaments  were 
made  by  Messrs. 
Starr  & Mar- 
cus, OF  New 
York,  and  exhib- 
ited in  their  dis- 
play at  the  Cen- 
tennial. Com- 
pared with  the 
exhibits  of  the 
same  character 
made  by  foreign 
manu  facturers, 
these  and  like 
jewels  shown  by 
our  American 
firms  proved 
that  in  this  par- 
ticular we  could 
fairly  compete 
on  equal  terms 
with  European 
designers  and 


Majolica  Faience : Daniell  Son,  London. 


The  Bonbon- 

NiERE,  the  low- 
ermost of  the 
group  on  page 
279,  is  a charm- 
ing toy,  as  costly 
as  it  is  small, 
exhibited  by  M. 
Boucheron,  of 
Paris.  It  is 
hardly  larger 
than  a silver  dol- 
lar, yet  it  is  made 
of  gold,  and  is 
profusely  jewel- 
ed and  enameled 
with  various  col- 
ors worked  into 
a design  of  cu- 

o 

rious  minute- 
ness and  intri- 
cacy. It  is  a 
trifle  for  princes 
to  hesitate  over. 


artisans. 

for  poor  men  to  wonder  at,  and  for  women  to  desire. 

The  fondness  for  strono-  and  bright  contrasts  of  color  noticeable  in  the 
art-workmanship  of  Russia  is  peculiarly  visible  in  the  decoration  of  their 
pottery.  In  the  examples  shown  on  page  280  of  Ru.ssian  Faience,  the  enamel 
colors,  principally  red,  blue,  green,  and  yellow,  are  arranged  to  give  the  highest 
contrasts  ; and  was  not  the  arrangement  made  with  consummate  skill,  the  effect 


282 


THE  INTERNATIONAL  EXHIBITION,  1876. 


would  be  too  gaudy  to  be  pleasing;  but  whether  by  instinct  or  training,  which- 
ever it  may  be,  the  decorative  artists  of  Russia  certainly  have  a fine  apprecia- 
tion of  the  limits  to  which  color-treatment  can  be  carried,  and  while  in  desig-nino- 


they  mostly  con- 
fine themselves 
to  geometric 
forms,  in  the  use 
of  pigments  they 
give  their  fancy 
free  play. 

How  different 
is  the  treatment 
of  the  decoration 
in  these  pieces 
from  that  of  the 
ornament  illus- 
trated on  page 
281,  though  all 
are  of  the  same 
material,  faience. 

This  piece  is  one 
of  the  numerous 
art-works  exhib- 
ited by  the 
Messrs.  Daniell 
& Son,  of  Lon- 
don, and  shows, 
as  indeed  did  the 
great  bulk  of 
had  to  undergo  before  it  was  finished 


Bronze  Vase  : yapanese  Court. 


their  display,  the 
perfection  of  the 
English  potter’s 
art.  In  studying 
this  fine  piece  of 
work,  the  eye 
naturally  rests 
first  upon  the 
two  little  vine- 
wreathed  figures 


resting  against 


the  base  of  the 
column,  their 
hands  full  of 
fruit.  The  pose 
of  these  little 
fellows  is  charm- 
ingly  graceful 
and  pretty,  and 
the  contours  and 
flesh -tints  have 
been  wonderfully 
well  preserved 
through  all  the 
several  firings 
which  the  piece 
From  these  figures  we  turn  to  the 


other  ornamentation,  the  scroll-work  and  shell-shaped  receptacles  at  the  base, 
the  elaborate  bracket  for  the  fruit-baskets  at  the  sides,  the  medallion  on 
the  base  of  the  column,  and  the  shaft  itself,  capped  by  a third  and  larger  basket 
for  fruit  and  flowers,  and  finally  the  harmony  and  proportion  of  the  whole  is 


IND  USTRIAL  ART. 


283 


observed.  The  piece  possesses  the  rare  merit  of  being-  pleasing  just  as  it 
appears,  while  the  imagination,  picturing  it  in  use,  its  baskets  heaped  full  with 
fruit  and  flowers,  can  see  that  it  will  gain  added  beauty  by  the  addition. 

The  beautiful  Bronze  Vase  of  Japanese  manufacture  illustrated  on  page  282 
is  an  example  of  how  faithfully  and  accurately  the  artisans  of  this  wonderful 
nationality  can  reproduce  in  metal  natural  forms,  either  animate  or  inanimate. 


Lace  Shawl : Collective  Exhibit  of  France. 


We  have  here  rocks,  trees,  animals,  and  birds,  treated  without  the  least  con- 
ventionality, the  artist  appearing  to  have  endeavored  to  copy  them  to  the  life. 
On  the  cover  of  the  vase  is  a mass  of  rock,  jagged  and  broken,  its  surface 
partially  covered  with  the  leaves  of  a clinging  vine.  Poised  on  the  top,  as  if 
just  about  to  spring  from  its  rest,  is  a pheasant,  its  wings  outspread,  its  beak 
open  and  crest  erected,  in  an  attitude  of  attack.  On  the  sides  of  the  bowl,  in 
the  place  of  handles,  are  gnarled  and  rugged  roots  and  branches  of  trees, 
twisted  and  contorted  like  the  laurel  of  our  swamps.  Below,  as  feet  to  the 
vase,  are  animals’  heads,  each  one  grasping  in  its  mouth  a ring  attached  to  the 


284 


THE  INTERNATIONAL  EXHIBITION,  1876. 


base  on  which  the  whole  rests.  The  modelinor  and  finish  of  each  of  these 

o 

several  objects  is  perfect.  One  hardly  knows  which  to  admire  most,  the  delicate 
delineation  of  the  feathers  on  the  bird,  the  hair  on  the  beasts,  the  veining  of 
the  leaves,  or  the  close  counterfeit  of  the  texture  of  rock  and  bark.  Nor  has 


The  Seasons  Plaque:  Elkington  6^  Co.,  London. 


minute  attention  to  detail  led  the  workmen  to  neglect  the  necessity  of  con- 
sulting the  effect  of  the  whole,  which  is  vigorous  and  bold,  as  well  as  har- 
monious and  well  balanced.  In  the  panel  on  the  side  of  the  vase  is  a little 
picture  in  relief,  just  a bit  of  nature  such  as  might  be  studied  from  a window — 
a tree-trunk  and  branch,  two  or  three  birds  disporting  themselves,  some  flowers 
and  grasses,  yet  all  instinct  with  life  and  movement,  and  in  keeping  with  the 
rest  of  the  design.  It  is  such  work  as  this  that  wins  for  the  Japanese  recog- 


INDUSTRIAL  ART. 


285 


! 


286 


THE  1 H TERN  ATI  0 N AL  EXHIBITION,  1876. 


nition  as  among 
the  most  con- 
summate artists 
and  skillful  metal- 
workers in  the 
world. 

Lace  and  dia- 
monds have  long 
been  esteemed 
among  women 
as  the  chief  out- 
ward indications 
of  gentility  ; but 
of  late  years 
diamonds  have 
had  to  take  a 
second  place,  and 
lace,  the  most 
precious  of  tex- 
tiles, has  the  su- 
premacy alone. 
Its  use  is  so  en- 
tirely confined  to 
ornamen  t ation 
that  even  in  its 
simplest  form  the 
fabric  maybe  re- 
garded as  a lux- 
ury, though  whole 
garments  are 
sometimes  made 
of  it,  and  lace 
shawls  are  uni- 
versally popular 


Lace  Curtain  : Collective  Exhibit  of  Brussels. 


and  admired.  A 
very  beautiful  ex- 
ample of  these  is 
shown  in  our  en- 
graving on  page 
283,  which  rep- 
resents a shawl 
selected  from  the 
mag-nificent  dis- 
play  made  in  the 
collective  exhibit 
of  France.  A 
large  central 
bouquet  of  flow- 
ers is  surround- 
ed by  garlands 
interwoven  to- 
gether and  ar- 
ranged so  as  to 
fill  the  triangular 
space  within  the 
border  with  an 
elegant  and 
graceful  design. 
The  border  itself 
is  a beautiful 
piece  of  work, 
two  series  of 
curves  being  dis- 
posed  the  one 
above  the  other, 
giving  the  effect 
of  a flounce  to 
the  edge. 


INDUSTRIAL  ART. 


287 


The  Seasons  Plaque,  illustrated  on  page  284,  is  another  of  the  examples 
of  artistic  metal-work  exhibited  by  Messrs.  Elkington  & Co.,  of  Birmingham. 
We  have  in  this  beautiful  design  a treatment  of  a subject  which  has  been  the 
theme  of  poets  and  artists  from  the  earliest  ages.  In  the  present  instance  the 
artist  has  symbolized  Spring,  Summer,  Autumn,  and  Winter,  by  giving  them 
personality — for  the  first  three,  women,  and  for  the  fourth,  an  old  man.  Spring, 
a youthful,  girlish  face  is  crowned  with  the  earliest  Bowers  of  the  year,  blos- 
soming buds  and  young  leaves ; Summer,  a face  full  of  warm  and  glowing 
life,  is  garlanded  with  the  luxuriant  richness  of  the  season;  while  Autumn,  in 
the  guise  of  a matron,  comes  with  head  wreathed  with  fruit,  the  harvest-moon 
upon  her  brow,  typifying  the  fullness  and  fruition  of  the  year.  Old  Winter, 
grave  and  serious,  has  for  his  wreath  a branch  of  holly,  emblem  of  the  jollity 
and  mirth  with  which  we  speed  the  parting,  melancholy  guest.  Between  these 
faces,  gracefully  intermingling  with  each  other,  are  tendrils  of  plant-life,  expressive 
of  the  same  theme  ; and  poised  between,  each  on  some  playfulness  intent,  are 
cupids  whose  actions — one  shielding  himself  from  cold,  another  shooting  a love- 
dart,  another  bearing  flowers,  and  the  fourth  fruit — complete  the  harmony  of  the 
design.  In  its  workmanship  the  execution  of  this  plaque  is  thoroughly  satis- 
factory. The  firmness  and  vigorous  outline  to  the  7'cpoii.sse-v^ov\^  is  remarkable, 
and  the  exquisite  finish  and  minuteness  of  detail  in  the  inlaid  or  damascened 
portions  are  quite  worthy  of  an  oriental  metal-worker’s  skill. 

The  Walnut  Book-Case,  illustrated  on  page  285,  is  from  the  exhibit  of 
carved  wood-work  in  the  Italian  Court  at  the  Exhibition,  and  is  the  work  of 
F.  Romanelli,  of  Florence.  While  in  outline  it  is  plain  almost  to  severity, 
this  only  makes  the  elaborateness  and  richness  of  the  carving  in  the  panels 
the  more  noticeable.  The  large  glass  panels  in  each  door  further  limit  the 
space  for  decoration,  so  that  in  fact  the  carver  has  only  the  uprights  or  pilas- 
ters on  either  hand,  and  the  base  and  pediment,  on  which  to  display  his  skill. 
In  general  design  and  in  detail  the  artist  has  followed  classic  models.  In  the 
panels  at  the  base  are  winged  masks,  half  human,  half  animal,  carved  in  relief 
with  scroll-work,  while  a Pompeiian  pattern,  a succession  of  vases,  scrolls  and 
emblems,  is  introduced  in  the  pilasters.  The  pediment  is  ornamented  with  an 
elaborate  frieze,  consisting  of  birds  and  leaf-scrolls,  with  phoenixes  in  the  square 
panels  at  the  ends.  Above  the  whole,  at  either  corner,  are  shallow  Pompeiian 


288 


THE  INTERNATIONAL  EX  H I B I TI 0 N,  1 8 7 6. 


lamps,  and  as  a central  and  crowning  ornament  are  two  cupids  supporting  a 
scroll  and  medallion  on  which  arms  or  a monogram  may  properly  be  carved. 

A beautiful  example  of  one  of  the  higher  grades  of  Brussels  lace  is  seen 
in  our  engraving  on  page  286,  a Lace  Curtain  exhibited  in  the  collective 
exhibit  of  Brussels  lace-manufacturers.  The  design  is  not  only  elaborate : it  is 
intricate  and  minute  in  no  ordinary  degree.  In  the  central  medallion  are  a 


rLliilllll’lTI!l!JIILli'dl]ll:!ll|j| 


! ijMnnniwwIiiaaittglgnM 


WK'KWt 


I3n 

iiiiiiiuiiiiiiiiiii 

M 

Sideboard ; Wright  &•  Mansfield,  London. 


harp  and  lyre  and  other  implements  of  music  surrounded  by  a wreath  of 
flowers.  These  are  supported  on  a vase,  the  lines  of  which  wind  off  into  a 
bewildering  scroll-work  of  flowers  and  tendrils.  Cornucopias  on  either  hand 
are  overflowing  with  fruit,  and  above  them  climbing  plants  meet  and  intertwine 
with  others  suspended  from  above.  In  this  part  of  the  design  there  is  some- 
thing of  oriental  richness  and  feeling,  though  with  a more  accurate  and  careful 
balancing  of  parts.  The  scroll  within  the  border  and  the  border  itself  are 
thoroughly  Eastern  in  character. 


INDUSTRIAL  ART. 


289 


As  in  our  modern  manner  of  furnishing  the  dining-room  the  sideboard  is 
made  the  most  conspicuous  object  in  the  room,  more  attention  is  given  to  its 
design  and  construction  than  to  any  other  of  the  pieces  of  furniture.  It  is  the 
one  object  that  can  be  ornamented  and  decorated  to  any  extent  that  the  fancy 
of  the  designer  may  suggest.  Chairs  and  tables  from  their  construction  and 


Majolica  Fonninirt  : Daniell  Son,  London. 


use  can  only  receive  ornamental  treatment  in  design  within  certain  definite 
limits,  but  in  the  sideboard  no  rules  except  those  of  harmony  with  the  rest  of 
the  furniture  obtain,  and  as  it  is  essentially  a “show-piece,”  it  is  quite  right 
that  it  should  be  elaborated  accordingly. 

The  Sideboard  shown  in  our  illustration  on  page  288  is  selected  from  the 
exhibit  made  by  Messrs.  Wright  & Manseield,  oe  London,  as  a fine  example 
of  the  adaptation  of  our  modern  methods  of  decorating  to  the  Queen  Anne 
style  of  construction.  It  will  be  observed  that  all  the  lines  of  this  piece  are 
plain  and  simple,  unrelieved  by  any  other  than  the  most  moderate  ornamenta- 


290 


THE  INTERNATIONAL  EXHIBITION,  iSj6. 


tion,  and  with  numerous  broad  flat  panels.  These  latter  afford  an  excellent 
ground  for  the  color-treatment  and  pictorial  designs  which  are  so  much  in  vogue 
at  the  present  time,  and  consequently  they  have  been  seized  upon  by  our 
modern  decorator  for  that  purpose.  What  a happy  effect  is  obtained  by  this 
means  can  be  seen  by  referring  to  our  illustration.  Each  of  the  four  principal 
panels  has  a central  medallion  with  figure-subjects  painted  in  color  on  a dark 
ground  after  the  style  of  the  Pompeiian  frescoes,  and  surrounding  them  are 
scrolls,  garlands  and  pendant  designs  inlaid  with  ebony  into  the  light-colored 


yapiinese  Porcelain  : yapanese  Court. 


panel  wood.  The  same  treatment  has  been  carried  out  with  less  elaborateness 
in  the  smaller  panels  and  on  all  the  flat  surfaces,  so  that  a bright  rich  color- 
effect  is  produced,  and  the  eye  attracted  at  once  to  a study  of  the  detail  which 
produces  such  a pleasing  result. 

A pleasant  feature  of  the  Pixhibition,  and  one  affording  satisfaction  and 
enjoyment  to  the  thousands  thronging  the  vast  corridors  of  the  Main  Building 
during  tlie  heated  summer  days,  was  the  arrangement  at  intervals,  in  these 
walks,  of  fountains  playing  streams  of  water  into  shallow  basins  and  cooling 
all  the  air  about  with  their  refreshing  spray.  Opportunity  was  thus  afforded 
the  exhibitors  of  these  objects  to  show  them  to  the  best  advantage  — that  is, 
with  the  water  forming  the  curves,  cascades  and  transparent  liquid  sheets 
which  are,  or  should  be,  as  carefully  studied  for  effect  as  the  outline  of  the 
fountain  itself.  Indeed,  it  may  be  said  that  a fountain,  to  be  perfectly  satis- 
factory as  a work  of  art,  should  appear  at  its  best  when  the  water  is  in  play. 


INDUSTRIAL  ART 


291 


but  yet  be  so  perfect  in  itself  as  to  be  an  ornamental  feature  when  not  in 
actual  use. 

There  were  fountains  of  great  variety,  adapted  for  lawns,  garden  or  con- 
servatory, shown  at  the  Exhibition  ; some  of  iron,  others  of  marble,  more  again 
of  terra-cotta,  and  still  others  of  majolica.  These  latter,  from  the  character  of 
the  material  and  richness  of  decoration  and  ornament,  were,  ot  course,  intended 
for  use  in  conservatories  or  other  sheltered  places.  Our  illustration  on  page  289 
represents  one  of  the  most  beautiful  of  these  majolica  fountains,  which  was 
shown  in  the  exhibit  of  Me.ssrs.  Daniell  & Son,  of  London.  It  is  remarkable 


not  only  for  the  elegance  of  the  design  and  the  richness  of  color  in  its  several 
parts,  but  also  for  the  technical  excellence  which,  in  so  large  an  obiect,  is  very 
great.  In  shape  it  is  like  a vase.  Around  the  stem  or  shaft  are  dolphins 
modeled  in  full  relief,  heads  downward  and  with  mouths  open  for  the  passage 
of  the  water,  which  gushes  out  in  as  many  streams  into  the  basin  in  which  the 
fountain  is  supposed  to  stand.  Above  and  around  the  body  of  the  vase  is  a 
charming  design  in  relief — cupids  swinging  in  hammocks  suspended  between 
comic  masks,  and  leaning  over  as  if  watching  the  play  of  the  water  beneath 
them.  It  is  not  apparent  that  there  is  any  play  of  water  above  the  vase,  but 
if  there  is  we  may  imagine  it  flowing  over  its  curved  lip  in  a crystal  sheet, 
bathing  the  naked  bodies  of  the  little  cupids  in  a manner  refreshing  to 
contemplate. 


292 


THE  INTERNATIONAL  EXHIBITION,  1876. 


On  pages  290  and  291  we  illustrate  several  examples  of  the  wonderful 


Japanese  Porcelain,  a material  which  in  the  hands  of  oriental  artificers  seems 


Carved  Walnut  Mirror- I'ramc : FruUini,  Florence. 


capable  of  almost  any  form  and  color-treatment.  Our  first  group  ot  illustra- 
tions show  these  several  styles  of  vases,  each  one  of  them  odd  and  curious 
enough  in  shape  and  decoration  to  repay  careful  examination.  On  the  broad 


INDUSTRIAL  ART. 


293 


surface  of  the  first  vase  is  a bit  of  pictorial  art — a group  of  tall  palm-trees 
bending  beneath  the  weight  of  their  leaves,  while  in  the  foreground,  on  the 
edge  of  a marshy  pool,  stands  a stork  reaching  forward  in  the  act  of  seizing 
its  prey.  The  study  of  nature  here,  as  indeed  in  all  Japanese  work  of  this 
character,  is  perfect.  Every  detail  of  plant-life,  bud  and  leaf  and  flower,  has 
been  carefully  and  faithfully  studied  and  as  carefully  and  faithfully  portrayed. 
So  too  with  the  bird : its  pose  is  instinct  with  life,  and  vividly  conveys  the 
impression  of  alert  watchfulness. 


The  second  vase, 
with  its  elephants’ 
heads  for  handles, 
has  something  of 
grotesqueness  about 
it,  though  its  outline 
is  severely  plain. 
The  principal  deco- 
ration here  is  in  the 
panel  on  the  side, 
rcq:)  resen  ting  a crest- 
ed bird,  like  a cock- 
atoo, swooping  for- 
ward with  extended 
wings  after  an  insect 
on  the  flower-spray 
before  him.  The 


Ormohi  Clock : French  Colleotive  Exhibit. 


third  vase  is  much 
the  most  elaborate 
of  the  three.  In 
shape  it  is  a double 
vase,  one  seeming 
to  rest  upon  the 
other.  The  lower 
of  the  two  rests  in 
a woven  basket  on 
a stand  of  bamboo 
pieces  tied  together. 
Above,  the  basket- 
work  blends  off  a 
pattern  of  brilliant 
color-decoration, 
strongly  outlined 
aeainst  the  white 


surface  of  the  bowl  itself.  From  the  upper  vase  two  serpents  are  winding  slowly 
downwards,  their  sinuous  bodies  clinging  to  the  curves  of  the  vases  and  forming 
the  handles,  d'he  other  decoration  is  of  the  simplest  character — a leaf,  a spray, 
a flower  thrown  on  the  surface  of  the  piece  at  the  fancy  of  the  artist. 

The  central  object  of  the  second  group,  on  page  291,  also  is  an  oddly- 
shaped  vase,  fashioned  without  curves.  The  quaint  group  in  the  panel  on  the 
side  might  be  taken  as  a Japanese  portrayal  of  the  story  of  Adam  and  Eve. 
But  the  most  interesting  objects  on  this  page  are  the  two  little  porcelain  figures, 
which  the  reader  should  carefully  observe.  They  are  as  perfect  in  modeling 


294 


THE  INTERNATIONAL  EXHIBITION,  1876. 


and  sharp  in  finish 
as  if  they  had  been 
executed  with  a 
carv'er’s  chisel,  and 
a minute  execution 
is  oriven  to  the  de- 

o 

tail  that  is  truly 
wonderful.  An  ad- 
mirable feature  in 
these  figures  is  the 
treatment  of  the 
drapery,  and  this  is 
especially  excellent 
in  the  dress  of  the 
woman.  Observe, 
also, her  pose;  how 
perfectly  natural  it 
is — leaning  gently 
upon  the  vase,  with 
her  ricrht  hand 

o 

hanging  idly  beside 
her;  in  her  left 
hand  hold  in  cr  a 
book  open  at  a 
passage  which  she 
is  reach  no-  with  ab- 

o 

sorbed  attention. 

The  male  fic^ure 
appears  to  be  that 
of  a priest  or  scribe, 
as  his  feet  and  head 
work  of  Frullini,  of  Florence. 
dark,  close-grained  wood,  and  may 
Both  the  outer  and  inner  edcre 


are  bare,  and  he 
carries  an  ink-horn 
in  his  girdle.  He 
stands  restingr  his 
hand  on  a vase  in 
somewhat  the  same 
attitude  as  the 
woman,  and  the 
two  figures  make 
an  excellent  group 
or  pair.  Prettier 
or  more  interesting 
ornaments  than 
these  to  a mantel- 
shelf or  “ whatnot” 
could  hardly  be  de- 
sired, and  they  pos- 
sess an  additional 
value  to  us  as  being 
correct  copies  of 
the  costume  worn 
by  the  wonderful 
people  who  fashion 
these  things. 

We  have  already 
illustrated  several 
examples  of  wood- 
carving by  Italian 
artists,  and  on  page 
292  we  give  an- 
other specimen,  the 
It  is  a Mirror-Frame,  executed  in  some 
be  regarded  as  a study  in  the  classical  style, 
of  the  frame  have  a beviled  surface,  orna- 


Table  Lamp : German  Court. 


INDUSTRIAL  ART. 


295 


mented  with  an  Incised  pattern  cut  in  low  relief.  The  upper  flat  surface  is 
divided  into  panels  by  raised  mouldings,  and  to  the  ornamentation  of  these 


panels  the  artist 
has  given  his 
careful  attention. 
The  design  of 
each  is  different, 
though  a per- 
fect balance  and 
harmony  has 
been  preserved 
throughout.  In 
the  four  corners 
are  groups  sym- 
bolic of  War, 
Peace  and  the 
Arts,  each  one  a 
a pretty  study  in 
itself.  In  the 
horizontal  panels 
above  and  be- 
low are  graceful 
scrolls  startincr 

o 

from  a common 
centre  and  wind- 
ing off  to  the 
right  and  left  in 
fanciful  curves, 
in  which  we  can 
discover  curious 
masks  and  ofrif- 

o 

fins’  heads.  In 


Hall-Lamf> : yoint  Stock  Company  of  Berlin. 


the  lower  panel, 
half  concealed  in 
the  leafage  of  the 
Scrolls,are  cupids 
bearing  wreaths 
andsmilingdown 
upon  the  satyr 
whose  head  is 
thrust  out  be- 
tween them.  In 
the  upright  or 
side  panels  are 
designs  of  a char- 
acter such  as  are 
commonly  seen 
in  Pompeiian 
de  CO  ration  — a 
combination  of 
vases  and  scrolls, 
garlands  of  fruits 
and  flowers,  rais- 
ed one  above  the 
other  in  bewil- 
dering succes- 
sion. All  of  this 
work  is  carved 
in  medium  relief, 
but  with  such 
precision  and 
nicety  and  atten- 


tion to  light  and  shade  as  to  make  it  appear  higher  than  it  really  is. 

On  page  293  we  illustrate  an  Ormolu  Clock,  one  of  the  dainty  and  luxu- 


296 


THE  INTERNATIONAL  EXHIBITION,  1876. 


rious  articles  of  ornament  and  use  shown  in  the  French  Collective  Exhibit. 
It  is  designed  with  all  the  abundant  richness  of  ornamentation  that  character- 
ized the  Louis  Quartorze  period.  Winged  griffins  support  the  base,  rich  in 
gilding  and  scroll-work.  A glass  panel,  engraved  with  a design  as  fine  as 
cobweb,  protects  the  mechanism  of  the  clock  from  the  dust  while  permitting 
its  working  to  be  seen.  The  clock-face,  brilliant  with  many-colored  enamels,  is 
set  in  an  ormolu  frame  or  case  with  shells  and  foliated  figures  executed  in 
high  relief. 

On  the  continent,  where  gas  is  used  to  a much  less  extent  than  with  us 
in  this  country,  lamps  are  in  correspondingly  greater  demand,  and  great  atten- 
tion is  given  to  make  them  as  ornamental  and  attractive  as  possible.  The 
central  object  of  a table,  often  of  a ciinner-table,  in  the  evening,  is  the  lamp, 
and  according  as  it  is  beautiful  or  homely  it  adds  to  or  detracts  from  the  beauty 
of  its  surroundings.  On  page  294  we  engrave  an  illustration  of  a Table-Lamb 
of  great  elegance  and  beauty.  The  stand  is  of  bronze,  and  consists  of  a central 
shaft  and  a trio  of  light  rods  supporting  the  cup  for  the  fluid.  At  the  foot  of 
the  piece  three  griffins’  legs,  bent  at  the  knee,  radiate  outward,  forming  a 
triangular  base.  The  band  around  the  fluid-cup  is  ornamented  with  rosettes, 
and  the  rods  have  terminal  rin^s,  which  swinor  free  and  serve  as  handles  in 
carrying  the  lamp  from  one  place  to  another.  The  fluid-cup  is  of  plain  white 
porcelain,  without  decoration  of  any  kind,  but  the  ground-glass  shade  around 
the  chimney  is  richly  engraved  and  is  shaped  like  a lily.  This  lamp  was  manu- 
factured in  Germany,  and  was  exhibited  in  the  Court  of  that  nation  at  the 
Centennial. 

On  page  295  we  engrave  another  lamp,  also  of  German  manufacture,  and 
part  of  the  same  exhibit,  but  a much  more  elaborate  piece  of  workmanship. 

V 

This  is  a Hall-Lamp,  intended  to  be  suspended  from  the  ceiling,  and  is  there- 
fore a larger  and  weightier  object.  The  main  portion  or  case  containing  the 
light  is  of  crystal,  the  sides  being  composed  of  a row  of  cut-glass  prisms  which 
give  a most  brilliant  effect  when  illuminated.  This  is  upheld  by  three  bronze 
rods  coming  together  around  a central  ball  suspended  by  a single  rod  from  the 
ceiling.  All  of  these  are  finely  chased  and  engraved,  and  the  supporting  rods 
are  finished  with  flovyers  and  leaves.  Suspended  above  the  centre  of  the  lantern 
is  a porcelain  shade  with  pendants,  and  above  this,  as  on  a pedestal,  stands  a 


INDUSTRIAL  ART 


297 


graceful  little  figure  of  Love  testing  the  keenness  of  an  arrow.  On  the  rim 
of  the  lantern  is  a group  composed  of  a wreath,  crossed  quivers  and  a pair  of 
doves,  while  at  either  side  are  winged  female  figures  supporting  shallow  crystal 
vases.  The  finish  and  execution  of  this  fine  work  is  in  the  very  best  manner, 
and  both  the  design  and  workmanship  reflect  credit  upon  the  manufacturers. 


In  a very  interesting  paper  written  by  Signor  Alessandro  Castellani,  of  Rome, 
he  describes  the  labors  and  research  with  which  his  new  school  of  jewelry,  which 


Gold  Necklace  : Signor  Castellani , Rome. 


aims  at  the  perfect  imitation  of  ancient  and  mediaeval  works  of  art  in  gold  and 
precious  stones,  has  been  established.  In  1814  the  elder  Castellani  opened  a 
studio  in  Rome  for  the  imitation  of  the  jewels  of  France  and  England,  in  which 
he  was  very  successful.  Some  years  later  he  turned  his  attention  to  chemical 


Gold  Bracelet : German  Court. 


science,  looking  for  aids  and  methods  which  could  advance  his  art,  and  he  made 
discoveries  in  coloring  gold  and  the  application  of  electrotype  and  similar 
processes  to  the  art  of  gilding  that  attracted  much  attention.  About  this  time 
the  ancient  cemeteries  of  Etruria  yielded  up  the  beautiful  jewels  that  had  been 
buried  for  so  many  centuries,  and  Signor  Castellani  conceived  the  idea  of 
reproducing  them  with  the  greatest  possible  exactness.  In  the  Regulini-Galassi 
tomb  were  remarkable  works  in  gold,  which  furnished  the  means  of  acquiring 
a more  precise  knowledge  of  the  character  of  the  early  Etruscan  jewelry,  and 
facilitated  his  researches  into  the  methods  used  by  the  ancients  in  working  gold. 
Let  us  quote  here  Signor  Castellani’s  own  words : — 


298  THE  INTERNATIONAL  EXHIBITION,  1876. 


“Having  determined  to  restore  as  well  as  possible,  and,  as  we  may  express 
it,  to  renew  the  ancient  school  of  jewelry,  our  first  step  was  to  search  after  the 


Monumental  Brass  : Singer  Co.,  Frome,  England. 


methods  of  fabrication  employed  in  ancient  times.  We  observed  that  all  the 
jewels,  except  those  intended  for  funeral  ceremonies,  instead  of  owing  their  raised 


INDUSTRIAL  ART. 


299 


parts  to  chiseling  or  engraving,  were  formed  by  separate  pieces  brought  together 


it  is,  in  our  opinion,  that  gives  them  so  peculiar  and  marked  a character,  derived 
from  their  expressing,  as  it  were,  the  fresh  idea  and  inspiration  of  the  artist, 


300 


THE  INTERNATIONAL  EXHIBITION,  1876. 


and  unattainable  by 

grains  of  gold,  like 

the  cold  and  regular 

fine  sand,  which  play 

execution  of  the 

a!  % 

so  important  a part 

workman.  The  very 

in  the  ornamentation 

imperfections  and 

of  antique  jewelry, 

omissions,  purposely 

presented  nearly 

made,  give  to  the 

insurmountable  diffi- 

workmanship  that 

culty.  We  made 

artistic  character  alto- 

innumerable  essa)s. 

gether  wanting  in  the 

w 

employing  all  pos- 

greater  number  of 

sible  chemical  agents 

0 

modern  works,  which. 

and  the  most  power- 

owing  to  a monoto- 

ful  solvents  to  com- 

nous  uniformity  pro- 

pose  a proper  solder 

duced  by  punching 

illBj 

We  consulted  the 

and  casting,  have  an 

writings  of  Pliny, The- 

appearance  of  trivial- 

ophilus  and  Benvenu- 

ity,  depriving  them  of 

mi 

to  Cellini;  we  studied 

all  individual  charac- 

the  works  of  the  In- 

ter,  that  charm  which 

dian  jewelers,  as  well 

so  constantly  strikes 

as  of  the  Maltese  and 

us  in  the  productions 

Genoese, and  neglect- 

of  the  ancients. 

^ ^ib 

ed  no  other  sources 

“The  first  problem. 

of  Instruction  which 

then,  that  presented 

tradition  could  supply, 

itself  to  our  attention 

was  to  find  the  means 

« wf  w 

but  it  was  only  in  a 

remote  corner  of  the 

of  soldering  together, 

Umbrian  Marches,  at 

with  the  utmost  neat- 

St.  Angelo  in  Vado,  a 

ness  and  delicacy,  so 

little  district  hidden 

many  pieces  of  ex- 

In  the  recesses  of  the 

traordinary  minute- 

Apennines,  free  from 

ness.  Among  others, 

jr«&  TO 

every  centre  of  civill- 

those  almost  invisible 

yardinieres  and  Vase : French  Court. 

zatlon,  that  we  found 

IND  US  TR /A  L A K T 


301 


still  in  use  some  of  the  processes  employed  by  the  Etruscans.  There  yet 
exists,  in  fact,  in  this  region  of  Italy,  a special  school  of  traditional  jewelry 
somewhat  similar  — not,  indeed,  in  taste  or  elegance  of  design,  but  at  least 
in  method  and  workmanship — to  the  ancient  art;  and  the  beautiful  peasant 
girls  of  these  districts,  when  at  their  wedding-feasts,  wear  necklaces  and  long 


ear-rinors  called 

o 

navicelle,  much 
resembling  the 
antique  in  their 
workmanship. 
We  procured, 
then,  from  St. 
Angelo  in  Vado 
a few  workmen 
to  whom  we 
taught  the  art  of 
imitating  Etrus- 
can jewelry.  In- 
heriting the  pa- 
tience of  their 
forefathers,  and 
caring  nothing 
for  those  me- 
chanical contriv- 
ances by  which 


God  of  Contentment  {porcelain)  : Chinese  Court. 


geometrical  ex- 
actness is  attain- 
ed in  modern 
jewelry,  these 
men  succeeded 
better  than  all 
whom  we  had 
previously  em- 
ployed in  the 
imitation  of  that 
freedom  of  style 
which  is  the  pe- 
culiar character- 
istic of  the  art 
among  the  an- 
cients,” 

The  events  of 
1 848  and  the  dis- 
astrous years  fol- 
lowing caused  a 


suspension  in  the  work,  and  it  was  not  until  1858  that  Signor  Castellani  was  able 
to  resume  his  researches.  The  discoveries  at  Cumae,  at  Ostia  and  at  Kertch  in  the 
Crimea  gave  new  subjects  to  work  upon.  No  difficulty  was  experienced  in  copy- 
ing the  jewels  of  ancient  Rome,  but  those  of  Etruria  and  Greece  required  special 
labor,  and  many  attempts  were  made  before  the  uniform  and  granulated  work 
and  the  various  enamels  were  successfully  reproduced.  The  discovery  made 
while  examining  some  ancient  Etruscan  ornaments,  that  the  places  from  which 
the  granulated  work  had  been  broken  off  presented  the  same  appearance  as 
these  gold  surfaces  from  which  the  enamel  that  once  covered  them  had  been 


302 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


torn  away,  led  Signor  Cas- 
tellani  to  try  a new  pro- 
cess for  the  production  of 
that  granulated  work  which 
modern  goldsmiths  had 
agreed  to  consider  inimi- 

o 

table.  The  results  of  the 
attempt  were  so  far  suc- 
cessful as  to  solve,  in  a 
great  degree,  the  problem 
that  for  twenty  years  had 
engaged  his  attention. 
Other  processes  were  then 
studied  in  order  to  reach 
the  degree  of  perfection 
that  characterizes  antique 
personal  ornaments.  In 
1868  Signor  Castellani 
founded  another  fabi'ique 
in  Naples,  where,  after  long 
and  assiduous  labor,  he  dis- 
covered the  method  of  re- 
producing the  granulated 
work  of  the  Phoenicians 
and  Etruscans. 

In  the  Italian  Court,  in 
the  Main  Building  at  the 
Centennial,  Signor  Castel- 
lani exhibited  a number 
of  examples  of  jewelry  in 
which  the  granaglie  had 


been  applied  according  to 
his  new  method.  The  ar- 
ticles for  beauty  and  deli- 
cacy of  workmanship  rival- 
ed the  superb  collection  of 
veritable  antique  jewelry 
exhibited  (also  by  him)  in 
Memorial  Hall.  Beside 
them  was  a small  shallow 
saucer,  no  larger  than  a 
silver  dollar,  seemingly 
filled  with  gold  dust  or 
filings  ; yet  on  examination 
through  a magnifying-glass 
these  particles  proved  to 
be  minute  spheres,  or  gra- 
naglie, and  such  atoms  as 
these  fastened  upon  the 
surface  of  the  ornament 
produced  the  elegant  effect 
seen  In  the  jewels  them- 
selves. On  page  297  we 
illustrate  a Necklace  from 
the  collection,  in  which  the 
ancient  art  is  fairly  equaled 
by  the  modern  process. 

A beautiful  jewel,  of  a 
character  entirely  different 
from  the  preceding,  is  the 

Panel  of  Tapestry:  French  Court.  GoLD  BRACELET  engraved  On 

page  297.  It  is  of  German 


manufacture,  and  was  exhibited  in  the  Court  of  that  nation  at  the  Centennial, 
among  the  fine  collection  of  examples  of  goldsmiths’  work  there  to  be  seen.  It 
consists  of  a series  of  square  gold  plates  joined  together  by  broad  massive  bands. 


INDUSTRIAL  ART. 


303 


cut  and  chased  in  an  elabo- 
rate manner.  Enamels  of 
various  rich  colors  are  used 
to  heighten  the  effect,  and 
seed-pearls,  turquoises,  gar- 
nets and  other  gems  are  in- 
troduced into  the  intricacies 
of  the  tracery  with  marked 
success.  It  will  be  observed 
that  while  the  design  on  the 
bands  is  the  same,  each 
square  presents  a different 
pattern,  and  the  ingenuity 
of  the  desiofner  has  been 
cleverly  shown  in  the  skill 
with  which  he  has  preserved 
a harmony  in  the  whole, 
while  giving  to  each  geo- 
metric fiofure  a variation 
peculiar  to  itself.  The  sev- 
eral parts  of  the  bracelet 
are  connected  together  by 
invisible  hinges  in  such  a 
manner  that  when  clasped 
together  in  a circlet  the 
whole  appears  to  be  with- 
out juncture  or  division  of 
any  kind. 

The  study  of  the  monu- 
mental brasses  of  England 
and  Europe  is  one  of  the 


Panel  of  Tapestry : French  Court. 


most  interesting  fields  open 
to  the  antiquary.  Begin- 
ning in  a remote  antiquity, 
the  custom  of  erecting  to 
the  memory  of  the  dead, 
eno^raved  memorial  tablets 
in  brass  or  bronze  has  con- 
tinued without  interruption 
to  the  present  time.  Of 
late  years  it  is  true  that  the 
practice  has  fallen  into  com- 
parative disuse,  but  now, 
with  the  new  art-revival, 
we  find  attention  returning 
to  this  subject,  and  the  ap- 
propriateness of  the  custom 
having  never  been  ques- 
tioned, we  may  hope  to  see 
a speedy  and  general  re- 
turn to  its  use. 

Some  few  years  ago  there 
was  exhibited  in  this  city  a 
fine  collection  of  copies  of 
monumental  brasses  in  the 
English  cathedrals,  obtained 
by  transfer  of  the  designs 
from  the  monuments  them- 
selves on  to  tracing-paper. 
The  transcriptions  thus  ob- 
tained were  therefore  abso- 
lutely correct,  and  the  ex- 


hibition was  one  of  such  rare  interest  as  to  claim  general  attention. 

On  pages  298  and  299  we  engrave  a couple  of  examples  of  Monumental 


Brasses  which  were  exhibited  in  the  Enirlish  Court  at  the  Centennial. 

O 


In  design 


304 


THE  INTERNATIONAL  EXHIBITION,  1876. 


and  treatment  the  work  as  seen  in  our  illustration  resembles  that  in  monu- 
mental windows  of  stained  glass,  and  of  course  the  object,  to  commemorate  the 
memory  of  the  dead,  is  the  same  in  both.  But  while  the  window  is  liable  to 
a thousand  accidents,  the  monumental  brass  continues  for  ages  an  enduring  and 
indestructible  memorial  to  the  deceased.  The  general  reader  will  find  much  to 
admire  in  the  beauty  and  elegance  ot  these  designs,  and  whoever  is  learned  in 
ecclesiastical  lore  will  recognize  the  appropriateness  and  significance  of  the 
vignette  subjects  and  the  other  details  of  the  work. 

The  group  of  articles  in  faience,  illustrated  on  page  300,  we  need  scarcely 


say  is  obtained  from 
the  French  Court, 
d'here  is  a liCThtness 

o 

and  delicacy  about  the 
decoration  and  orna- 
mentation peculiar  to 
French  workmen. 
These  remarks  do  not 
indeed  apply  to  the 
Persian  vase  or  jug, 
but  that  is  manifestly 
a copy  from  an  ori- 
ental model ; but  the 


Tapestry  Chair  : Department  of  Aubnsson. 


jardinieres,  with  their 
light  bronze  stands  and 
scroll  and  figure  deco- 
ration, are  essentially 
French.  The  larger 
one  of  the  two  is  par- 
ticularly graceful  in 
design. 

“It  was  Tiresias  the 
prophets  counsel  to 
Menippus,  that  trav- 
elled all  the  world  over, 
even  down  to  hell  it 


self,  to  seek  content,  and  his  last  fare  well  to  Menippus,  to  be  merry.  Contemn 
the  world  (saith  he)  and  count  all  that  is  in  it  vanity  and  toyes : this  only  covet 
cdl  thy  life  long ; he  not  curious,  or  over  solicitous  in  any  thing,  but  with  a well 
composed  and  contented  estate  to  enjoy  thyself,  and  above  all  things  to  be  merry. 


Si,  mimnerus  uti  censet,  sine  amore  jocisque 
Nil  est  jucundum,  vivas  in  amore  jocisque.” 


Thus  writes  Democritus  Junior  in  the  second  partition  of  his  “Anatomy  of 
Melancholy,”  that  wonderful  treasury  of  learning  which  has  furnished  many  a 
pedant  with  his  apt  classical  phrase,  and  where  the  thieves  of  literature  prowl 
undetected.  Contentment,  then,  and  merriment,  in  the  prophet’s  mind,  went 
together,  and,  though  not  synonymous,  were  coequal.  See  now  how  curiously 
the  Chinese  have  embodied  the  same  idea  in  their  God  of  Contentment,  which 


INDUSTRIAL  ART. 


305 


is  illustrated  on  page  301.  Above  all  things  be  merry;  that  indeed  he  is,  and 
with  rollicking  joyousness  that  knows  no  solicitation  for  anything,  and  which 
counts  all  that  is  in  the  world  vanity  and  toys.  He  is  a good  liver,  too,  and 
evidently  has  all  a bon  vivant's  keen  sense  of  humor.  Would  that  we  knew 
what  the  joke  is  now,  which  is  making  his  jolly,  fat  sides  shake  with  laughter, 
and  has  given  an  expression  to  his  face  that  makes  us  laugh  to  look  at  him. 
Who  will  say  that  there  is  not  deep  philosophical  reason  underlying  this 
humorous  conception  of  Contentment,  and  that  the  Chinese,  in  typifying  the 


god  under  the  guise  of  a jolly  fellow,  are  not  giving 

expression  to  a great 

fundamental  truth?  ^ 

more  emphasized  in 

Why  the  little  man  a ^ 

this,  but  the  signifi- 

is  represented  as  a mis- 

cance  of  the  tonsorial 

shapen  dwarf,  and  with 

instrument  passes  our 

a razor  in  his  hand,  as 

powers  of  conjecture. 

if  he  was  a barber  by 

This  little  fi^-ure  is 

profession, could  doubt- 

made  of  a fine  quality 

less  be  explained  satis- 

of  porcelain  and  mod- 

factorilyby  one  learned 

eled  with  great  nicety. 

in  oriental  mythology.  ■11  1 ■ 

The  block  on  which  it 

Perhaps  his  good  na-  ^ |||  1 % 

stands  has  a texture  in 

tUrC,  nOtWltllStS.ncling’  Tapestry  Chair:  Department  of  Aubusson. 

imitation  of  ivory. 

his  deformity,  is  the 

The  pair  of  Tapestry 

Panels,  illustrated  on  pages  302  and  303,  are  chosen  from  the  fine  exhibit  made 
by  France  which  was  displayed  both  in  Memorial  Hall  and  in  the  Main  Building 
at  the  Centennial.  In  the  galleries  of  the  former  building  were  examples  of  the 
marvelous  work  anciently  executed  at  Gobelins  and  at  Beauvais,  serving  as  a 
standard  by  which  the  achievements  of  the  tapestry-makers  of  the  present  day, 
whose  contributions  were  displayed  in  the  Main  Building,  might  be  estimated. 
The  examples  before  us  are  of  this  modern  workmanship,  and  our  readers  will 
agree  that  they  need  not  fear  comparison  with  the  ancient  products  of  the  loom. 
The  designs,  in  which  a group  of  the  instruments  of  war  and  another  of  the 
implements  of  peace  are  wound  about  by  garlands  of  flowers,  are  exceedingly 
artistic  and  graceful,  and  evidence  much  skill  in  composition.  The  choice  and 
blending  of  the  colors  has  been  carefully  and  skillfully  executed,  and  the  finished 


THE  INTERNATIONAL  EXHIBITION,  iSj6. 


306 


work  has  much  of  the  quality  of  a painting,  and  indeed  is  equally  a work 
of  art. 

France  has  long  enjoyed  the  reputation  for  making  the  most  exquisite  and 
costly  fans  in  the  world,  and  although  the  demand  for  such  magnificent  articles 
as  were  made  for  the  ladies  of  the  Court  in  the  times  of  Louis  have  ceased, 
highly  artistic  workmanship  is  still  in  demand  and  liberally  paid  for.  Fan- 
painting  has  for  many  years  been  a means  of  subsistence  to  a numerous  band 
of  artists,  some  of  whom  have  achieved  distinguished  success  in  this  branch 
of  their  art ; while  in  the  decoration  of  handles  of  the  fan,  the  ingenuity  and 
skill  of  workers  in  the  metals,  wood,  ivory,  pearl,  tortoise-shell,  and  the  like  is 
taxed  to  produce  new  and  attractive  designs.  On  page  310  we  engrave  a 
couple  of  these  beautiful  articles,  in  which  the  reader  can  see  for  himself  to 
what  elaborateness,  even  in  this  day,  the  decoration  of  the  handles  is  carried ; 
and  doubtless  could  we  open  this  pair  of  fans  we  would  find  the  surface  of 
their  face  painted  with  a design  as  beautiful  in  its  way  as  is  the  decorative 
work  before  us. 

Doubtless  the  use  of  fans  in  Europe  was  borrowed  from  the  Italians,  who 
in  turn  had  them  first  from  oriental  countries.  That  paper  fans  were  not  gen- 
erally known  in  England  in  the  beginning  of  the  seventeenth  century  is  proved 
by  the  remarks  of  Thomas  Coryat,  who,  writing  of  his  continental  tour  in  1608, 
says:  “Here  [Italy]  I will  mention  a thing,  that  altho’  perhaps  it  will  seem 
but  frivolous  to  divers  readers  that  have  already  travelled  in  Italy,  yet  because 
unto  many  that  neither  have  beene  there,  nor  ever  intend  to  go  thither  while 
they  live,  it  will  be  a meere  novelty,  I will  not  let  it  passe  unmentioned.  The 
first  Italian  fannes  that  I saw  in  Italy  did  I observe  in  this  space  betwixt 
Pizighiton  and  Cremona ; but  afterwards  I observed  them  common  in  most 
places  of  Italy  where  I travelled.  These  fannes  both  men  and  women  of  the 
country  doe  carry,  to  coole  themselves  withall  in  the  time  of  heat,  by  the  often 
fanning  of  their  faces.  Most  of  tliem  are  very  elegant  and  pretty  things.  For 
whereas  the  fanne  consisteth  of  a painted  piece  of  paper  and  a little  wooden 
handle;  the  paper,  which  is  fastened  into  the  top,  is  on  both  sides  most  curi- 
ously adorned  with  excellent  pictures,  either  of  amorous  things  tending  to 
dalliance,  having  some  witty  Italian  verses  or  fine  emblems  written  under  them  ; 
or  of  some  notable  Italian  city,  with  a briefe  description  thereof  added  there- 


INDUSTRIAL  ART 


307 


Bnus  Corona  Chandelier : Mitchell,  Wince  6^  to.,  .\eiu  York. 


3o8 


THE  INTERNATIONAL  EXHIBITION,  1876. 


unto.  These  fannes  are  of  a meane  price,  for  a man  may  buy  one  of  the 
fairest  of  them  for  so  much  money  as  countervaileth  our  English  groate.” 

The  two  chairs  covered  with  tapestry,  illustrated  on  pages  304  and  305, 
which  were  exhibited  in  the  French  Court  of  the  Main  Building  at  the  Cen- 
tennial,  may  be  accepted  as  examples  of  the  styles  of  furniture  which  French 
upholsterers  consider  fit  for  use  with  this  costly  and  most  artistic  covering.  The 
frames  are  of  ebony  or  ebonized  wood,  ornamented  with  carving  and  gilding, 
but  with  these  in  rather  less  profusion  than  we  are  accustomed  to  see  in 
Parisian  work  of  this  nature.  The  shape  and  size  of  the  chair-frame  being 
given,  the  design  for  the  tapestry  is  made,  and  thus  a pattern  following  the 
lines  of  the  frame  and  adapted  to  them  is  prepared.  In  one  of  our  examples 
it  will  be  seen  that  cornucopias,  bouquets  and  garlands  of  flowers  are  enclosed 
in  one  large  wreath,  which  forms  a second  frame  within  the  wooden  rail  of  the 
back.  The  second  design  is  of  a more  elaborate  character,  and  includes  a 
group  of  a little  cupid  leading  a lion  at  his  will.  Although  the  patterns  of  the 
covers  for  the  seat  and  arms  of  these  chairs  cannot  be  seen  in  our  illustra- 
tions, it  is  scarcely  necessary  to  state  that  they  are  in  harmony  with  those  on 
the  back,  though  less  elaborate,  because  they  occupy  a less  conspicuous  position. 

We  have  selected  for  illustration  on  page  307  the  Brass  Corona  Chan- 
delier, manufactured  and  exhibited  by  Messrs.  Mitchell,  Vance  & Co.,  of  New 
York,  and  worthily  ranking  among  the  chefs  d'ccuvre  produced  by  that  house; 
and  there  can  be  no  doubt  that  in  the  manufacture  of  artistic  gas-fixtures  our 
American  makers  are  unsurpassed  by  those  of  any  European  nation.  For 
example,  it  would  be  difficult  to  find  anywhere  a more  beautiful  and  in  every 
respect  satisfactory  design  than  this  one  which  is  before  us.  Beginning  with 
the  graceful  crown  just  below  the  ceiling,  the  lines  of  the  chandelier  expand 
to  the  first  circle  of  lights,  where  they  break  into  a network  of  curves  and 
angles,  which,  though  they  change  with  every  movement  of  the  observer,  never 
become  confused  or  cease  to  convey  that  sense  of  richness  combined  with 
lightness  which  is  one  of  its  chief  excellencies.  Here  indeed  is  an  example  of 
American  industrial  art-workmanship  which  Europeans  can  look  at  with  pleasure 
and  profit. 

If  the  question  is  asked.  What  is  it  that  makes  a work  of  this  kind  so 
thoroughly  satisfactory  ? we  answer,  without  hesitation,  the  fitness  of  the  orna- 


INDUSTRIAL  ART 


309 


ment  to  the  material,  the  use  for  which  the  object  is  designed,  and  the  excel- 
lent taste  displayed  in  the  treatment  of  the  design.  The  great  fault  in  the 
ornamental  work  usually  produced  by  gas-fitters  is  the  exaggerated  imitations 
of  the  florid  French  styles  which  the  designers  affect  These  objects  are  showy, 
flashy  and  generally  overloaded  with  ornament,  often  consisting  of  foliage  and 
flowers,  copied  after  nature  and  presented  without  any  constructive  arrangement 


Croup  of  Silver-ware : Elkitigton  Sr  Co.,  Birmingham. 


whatever.  Thus  they  present  a tangle  of  leaves,  flowers  and  branches,  in  which 
all  characteristic  form  is  lost,  and  which  indeed  simply  adds  weight  without 
strength.  In  this  corona  the  very  reverse  of  all  this  is  true.  The  artist  has 

given  his  fancy  play  in  his  design,  but  has  always  kept  within  those  limits  in 

which  mere  decoration  is  made  subservient  to  a unity  of  style  and  the  needs 
of  construction.  Such  work  as  this  is  in  Itself  an  incentive  to  the  study  of  the 
principles  of  design  and  ornament  in  manufacture.  Nor  must  the  blame  for 

the  inartistic  work  before  referred  to  be  placed  on  the  designers.  They  are 

employed  to  produce  works  that  will  take  with  the  public  and  sell  rapidly;  and 


310 


THE  INTERNATIONAL  EXHIBITION,  1876. 


until  the  public  is 
educated  up  to  an 
appreciation  of  true 
honesty  in  construc- 
tion, fitness  of  orna- 
ment to  material  and 
decorative  subordi- 
nation, we  must  ex- 
pect to  see  the  art- 
istic sense  of  the 
designer  submit  to 
the  popular  demand. 

Our  readers  are 
familiar  with  many  of 
the  beautiful  works 
of  art  manufactured 
by  the  Messrs.  El- 

KINGTON,  OF  BIRMING- 
HAM, England,  as 
they  have  been  illus- 
trated in  these  pages. 
The  exhibit  of  these 
celebrated  silver- 
smiths, as  compared 
with  the  extent  and 
importance  of  their 
business,  was  not  a 
large  one,  but  it  was 
representative  of 
their  art  department. 
Every  object  shown 
had  its  art  value,  and 
in  this  the  collection 
was  quite  without  a 


Fans  : French  Court. 


parallel  in  the  Eng- 
lish Court.  On  page 
309  is  shown  a group 
of  this  artistic  silver- 
ware just  as  it  was 
arranged  for  our  art- 
ist. At  the  back  is 
a superb  plaque,  or- 
namented with  re- 
pousse-v^oxV  ; on  the 
right  is  a pitcher,  or- 
namented in  the  same 
manner,  with  medal- 
lions and  figures  like 
the  Thalia  in  the  one 
before  us.  An  ink- 
stand,  with  a group 
of  figures  in  relief, 
and  an  exquisitely 
executed  panel  be- 
low, and  a noble  dish 
of  classic  design  for 
fruit  or  flowers,  com- 
pose the  quartette  of 
objects,  any  one  of 
which  will  fully  indi- 
cate the  perfection  of 
the  art-workmanship 
obtaining  in  the 
Messrs.  Elkington’s 
establishment. 

It  is  quite  natural 
that  we  should  look 
for  art  in  works  in 


INDUSTRIAL  ART. 


311 


the  precious  metals,  for  here  the  works  of  the  artist  and  the  artisan  go  hand 
in  hand.  As  long  as  the  artist  regards  the  material  in  which  he  works  merely 
as  a vehicle  with  which  to  express  his  art-idea,  he  is  safe,  but  as  soon  as  the 
desire  manifests  itself  to  bring  forward  the  value  of  the  material  itself,  the 
art-idea  suffers  in  proportion.  It  very  often  happens  that  an  admirably  con- 
ceived and  moulded  design  of  an  artist  is  spoiled  by  the  belittling  treatment  it 
receives  at  the  hands  of  the  workman  by  whom  it  is  produced  in  the  precious 
metal ; for  the  latter,  with  his  lower  range  of  art-feeling,  sees  more  value  in 


Fan : French  Court. 


the  vehicle  than  in  the  idea  itself,  and  he  labors  accordingly  to  give  promi- 
nence to  the  fact  that  This  is  silver,  or  That  is  gold,  ignoring  the  art-idea.  In 
ancient  metal-work  errors  of  this  kind  were  avoided,  because  the  artist  and 
artisan  were  one.  Now  the  artist  conceives  and  the  workman  executes. 

We  can  imagine  that  the  Fan  shown  on  this  page  may  be  one  of  the  two 
already  illustrated  a few  pages  back,  for  this  also  is  from  the  collection  on 
exhibition  in  the  French  Court.  But  in  this  instance  the  face  is  not  painted, 
but  is  made  of  the  finest  lace,  the  pattern  being  designed  and  worked  expressly 
for  this  purpose.  Nothing  more  delicate  and  fairy-like  could  be  imagined, 
nor  could  the  most  capricious  beauty  demand  a more  exquisite  or  a more 
choice  toy. 

The  massive  Gold  Bracelet,  resplendent  with  jewels,  which  forms  the 


312 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


subject  of  our  illustration 
on  this  page,  is  from  the 
exhibition  of  oriental  jew- 
elry in  the  Turkish  Court 
at  the  Centennial.  There 
is  something  quite  bar- 
baric in  the  splendor  of 
the  jewels  and  the  richness 
of  the  ornamentation,  and 
even  the  clasp  by  which 
the  ends  are  bound  to- 
gether is  different  from 
the  fastenings  adopted 
by  our  jewelers.  As  a 
Turkish  woman’s  fortune 
consists  chiefly  in  her 
personal  ornaments,  the 
ingenuity  of  the  Turkish 
artisans  is  taxed  to  the 
utmost  to  make  these  ob- 
jects as  rich  and  costly  as 
possible,  and  in  this  in- 
stance the  workman  has 
made  a jewel  which  even 
the  favorite  of  the  Sultan 
would  treasure. 

Doubtless  many  of  our 
readers  will  recognize  in 
our  illustration  on  page 
313,  the  beautiful  Stained 
Glass  Window  exhibited 
by  F.  X.  Zeitler,  of  Mu- 
looked — that  is,  a proper  regard 
tures  the  shadows,  laid  on  with 


• NiCH,  in  one  of  the  north- 

ern windows  of  Memorial 
Hall.  This  elaborate  com- 
position, in  the  execution 
of  which  the  perfection  of 
the  art,  as  it  now  exists, 
was  manifest,  attracted  a 
great  deal  of  attention 
from  those  whose  know- 
ledge of  the  subject  en- 
abled them  to  appreciate 
the  technical  difficulties 
that  had  been  overcome, 
I and  also  from  the  un- 

-5  learned  who  were  simply 

fS  attracted  to  it  by  the  rich- 

ness  of  the  color  and  the 

•sJ 

I beauty  of  the  design.  The 

I work  reflects  the  highest 

^ credit  on  the  manufac- 

turer, and  was  well  worthy 
of  the  honorable  mention 
it  received  from  the  spe- 
cialists commissioned  to 
pass  upon  its  merits. 

It  is  remarkable  that 
while  this  art  of  staining 
glass  is  better  understood 
now  than  in  ancient  times, 
one  of  the  chief  beauties 
of  the  ancient  work  should 
have  been  so  often  over- 
for  the  material  itself.  In  ancient  glass  pic- 
dark  colors  and  fixed  in  the  fire,  were  but 


INDUSTRIAL  ART. 


313 


sparingly  used,  never  indeed  to  the  extent  obtaining  at  present,  where  the 
primary  object  of  the  glass  as  a means  of  transmitting  light  is  sacrificed  in 
order  to  introduce  opaque  effects  of  shadow.  In  the  example  before  us  this 
fault  has  been  carefully  avoided. 

In  the  exhibition  made  by  the  Messrs,  Elkington,  of  Birmingham,  Eng- 


land, was  a collection  of  reproductions  in  electro-plate  of  celebrated  works  in 
metal,  chiefly  copied  from  the  magnificent  collection  belonging  to  the  South 
Kensington  Museum.  Here  were  specimens  of  the  exquisite  workmanship  of 
Benvenuto  Cellini ; cups  and  other  specimens  of  Roman  work  in  silver,  some 
of  which  belonged  to  the  famous  “Treasure  of  Hildesheim  work  of  the  Byzan- 
tine goldsmiths ; the  remarkable  St.  Patrick’s  bell ; and,  in  short,  notable  works 


314 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


of  the  goldsmiths  and  silversmiths  of  England,  France,  Germany,  Spain,  and 
Italy,  from  the  ninth  to  the  fifteenth  century,  beside  the  work  of  modern  artists 
of  fame,  and  ancient  pieces  whose  origin  is  the  discussion  of  antiquaries.  This 
collection  was,  indeed,  an  excellent  illustration  of  the  history  of  the  gold-  and 


Aniigue  Drinking  Cup  : Elkington  &=  Co.,  Birmitighnm . England. 


silversmiths’  art,  and  as  such  invaluable  for  purposes  of  study,  The  reproduc- 
tion of  the  articles  by  the  electrotype  process  insured  absolute  exactness  in 
every  detail  in  the  duplicate,  and  where  the  originals  had  jewel  enrichments 
the  copy  was  supplied  with  perfect  imitations  of  the  gems.  No  amount  of 
money  could  buy  out  of  hand  a similar  collection  of  originals,  and  such  another 
could  only  be  acquired  in  time  by  actively  competing  at  every  sale  with  the 


/ .V  DUS  TR I AL  A R R 


315 


museums  of  Europe;  but  by  purchasing-  these  duplicates,  which  they  obtained 


at  a moderate  price,  our 

Pennsylvania  Museum  and 

School  of  Industrial  Art 

have  secured  to  this 

ed  with  vine -leaves, 

city  a collection  quite 

£ 

staggers  helplessly. 

as  invaluable  for  pur- 

¥ 

though  supported  by 

poses  of  instruction, 

1 

his  companions.  The 

and  perhaps  even 

M 

wine  falls  wasted  to 

better  adapted  for 

the  ground  from  the 

these  ends  than  the 

vessel  held  carelessly 

originals  themselves. 

in  his  hand.  Another, 

On  page  314  we 

overcome  by  liquor, 

engrave  an  Antique 

sprawls  helplessly  on 

Drinking  Cup,  taken 

the  ground  beside  a 

from  this  collection. 

swine.  A satyr  lookson 

which  gives  an  ad- 

in  grim  and  malignant 

mirable  idea  ot  the  per- 

derision.  A ^oung  fe- 

fectness  of  the  Elk- 

male  comes  forward 

INGTON  reproduction. 

bearing  a basket  of 

On  the  lid  of  the  piece 

iruit  on  her  shoulder. 

is  perched  a little 

and  a companion  her- 

Bacchus,  wreathed  and 

aids  her  approach  by 

drinking-  from  a bowl. 

blowing  lustily  on  his 

Around  the  circumfer- 

horn.  The  work  is 

ence  of  the  cup  is  a 

executed  with  great 

group,  executed  in 

spirit  and  true  artistic 

very  high  relief,  repre- 

ieeling.  The  grouping 

senting  a Bacchic  or- 

_|^*l 

ot  the  figure  is  con- 

gie.  Male  and  female 

ceived  with  fine  skill. 

figures  are  shown  in 

and  the  treatment 

every  stage  of  inebri- 

throughout  is  admi- 

ety.  One,  an  old  man. 

Antique  C/iaiicf : Klkington  to. 

rable.  In  the  minor 

his  bald  brows  crown- 

details,  the  ornamenta- 

tion  is  confined  to  bands  and  scrolls,  in  which  the  leal  and  fruit  of  the  grape  are 
a motive.  The  handle  is  of  the  simplest  description  ; yet  here  too  the  sugges- 


THE  INTERNATIONAL  EXHIBITION,  1876. 


316 


tion  of  the  vine  is  conveyed  by  the  reverse  curves  and  the  points  as  in  the 
grape  tendrils.  Though  we  are  not  informed  concerning  the  original  of  this 
piece,  we  should  judge  that  it  was  of  German  workmanship,  late  in  the  six- 
teenth century,  when  the  Italian  style  and  manner  had  become  incorporated 


with  the  earlier 
national  feeling. 

Our  illustra- 
tion on  page  315 
is  another  ex- 
ample of  ancient 
metal  work  taken 
from  the  col- 
lection of  the 
Messrs.  Elking- 
TON,  above  re- 
ferred to.  It  is 
an  antique  Eng- 
lish Chalice,  re- 
markable for  the 
extreme  beauty 
of  its  desicrn  and 

c> 

ornamentation. 
The  detail  of  this 
fine  cup  could 
hardly  be  intelli- 
gently described 
in  words  ; nor  is 


Cellini  Shield  and  Helmet : Italian  Court. 


it  worth  while  to 
attempt  it  here. 
Wuth  the  ill  us- 
tration  before  us, 
the  reader  will 
observe  for  him- 
self the  incised 
work  on  the 
bands  around 
the  bowl  and 
cover  and  the 
beautiful  chasing 
on  the  pedestal. 
We  would  say  a 
word,  however, 
about  the  Eng- 
lish gold-  and 
silver-work  of 
old  times.  Al- 
though much  was 
destroyed  dur- 
ing the  period 
of  the  Reforma- 


tion, by  far  the  largest  proportion  of  the  articles  remaining  to  us  are  the  vessels 
used  for  the  purposes  of  church  decoration  and  use.  Beside  these  are  the 
cups  and  vessels  manufactured  for  the  guilds  or  great  corporations,  which  must 
have  been  used  in  great  quantities.  In  the  older  specimens  the  date  of  manu- 
facture cannot  always  be  fixed  with  certainty,  but  after  the  beginning  of  the 
fifteenth  century,  when  hall-marks  began  to  be  used,  there  is  no  trouble  in 
fixing  the  date.  Lists  of  these  have  been  prepared  by  the  South  Kensington 


INDUSTRIAL  ART. 


317 


Museum,  where  they  can  be  consulted  by  those  wishing  to  investigate  any 
particular  mark. 

The  next  examples  which  we  have  selected  from  this  fine  collection  of 
Elkington  reproductions  are  the  Shield  and  Helmet  engraved  on  page  316. 
These  are  the  workmanship  of  Benvenuto  Cellini,  the  best  known  of  all  the 
metal-workers  of  the  sixteenth  century.  This  famous  artist  “was  born  in  1500, 
and  having  spent  some  years  as  an  apprentice  in  one  or  two  of  the  best  work- 
shops of  Florence,  he  worked  in  several  towns  of  Italy.  As  time  passed  he 
established  the  highest  reputation,  and  was  largely  employed  at  Rome  by  Pope 


Silver  Basket : Trostrup,  Norway. 


Clement  VII.  Unfortunately  Cellini  was  ordered  by  that  pope  to  destroy  as 
well  as  to  make  ; and  to  his  hand  we  must  trace  the  destruction  of  numberless 
artistic  treasures  which  probably  might,  or  at  least  some  among  them,  have 
come  down  to  our  own  days.  Whilst  Clement  was  besieged  in  the  castle  of 
St.  Angelo,  Cellini  tells  us  in  his  memoirs  that  he  received  orders  to  unset  all 
the  precious  stones  that  were  upon  the  tiaras,  the  sacred  vessels,  and  vestments 
of  the  pope,  and  to  melt  down  the  gold,  of  which  he  obtained  two  hundred- 
weight. We  need  not  wonder,  judging  from  this  instance  alone,  why  it  is  that 
so  very  few  pieces  of  ancient  and  mediaeval  gold-  and  silver-work  can  now  be 
found.  Afterward  Cellini  went  to  France  and  was  patronized  by  Francis  J ; 
yet,  though  he  executed  there  many  splendid  works,  only  one  can  be  identified — 
a gold  salt-cellar,  preserved  in  the  museum  at  Vienna.” 


THE  INTERNATIONAL  EXHIBITION,  1876. 


310 


Cellini,  although  not  the  only  goldsmith  of  his  time,  was  undoubtedly  the 
most  famous.  'I'he  number  of  pieces  attributed  to  his  hand  are  among  the 
precious  examples  of  his  art  in  the  museums  of  Europe.  He  lived  in  an  age 
when  the  workmen  of  his  craft  found  constant  occupation,  and  when  their  work 
was  esteemed  at  its  full  artistic  value.  The  jewelry  and  plate  of  this  period 
are  simply  superb,  but  even  these  are  rivaled  by  the  magnificent  suits  of  armor 
worn  by  the  nobility,  in  making  which  the  very  best  skill  of  the  metal-worker 
was  employed.  Nothing  could  illustrate  this  better  than  the  shield  and  helmet 


Kriigg  yugs : Austrian  Court. 


before  us.  In  execution  and  finish  they  stand  unsurpassed,  and  the  beauty  of 
the  design  is  manifest. 

o 

As  an  example  of  the  workmanship  of  the  silversmiths  of  Norway,  we 
illustrate  on  page  317  a .Silver  B.\sket,  made  by  Trostrup,  of  Christiania. 
Like  all  the  other  examples  of  industrial  art  exhibited  by  that  nation,  this 
basket  evidences  a fine  appreciation  of  artistic  taste  and  a cultivation  of  national 
feeling  in  design  rather  than  a servile  copying  of  foreign  styles.  The  orna- 
mentation of  this  basket  is  admirable  ; the  pattern  is  exceedingly  graceful  and 
rich,  and  appropriate  to  the  material  in  which  it  is  wrought  and  the  use  for 
which  the  article  is  designed.  There  is  just  sufficient  openness  in  it  to  suggest 
lightness  and  solidity,  strength  as  well  as  grace.  The  shape  of  the  piece,  too. 


INDUSTRIAL  ART. 


319 


is  elegant  in  its  simplicity,  and  makes  it  a handsome  ornament  to  the 
table. 

The  quartette  of  Krugg  Jugs,  which  we  illustrate  on  page  318,  were  made 
by  that  celebrated  manufacturer,  and  exhibited  in  the  Austrian  Court  at  the 
Centennial.  These  jugs  are  of  faience  and  gris,  and  may  be  accepted  as 
examples  of  the  curious  forms  and  styles  of  decoration  at  one  time  so  popular 
and  so  much  sought  after. 


Lambeth  Faience : Doulton  dr=  Co.,  England. 


The  first  represents  a warrior  in  his  coat  of  mail,  his  helmet,  which  forms 
the  lid  of  the  jug,  upon  his  head,  his  back  and  belly  protected  by  armor.  It 
is  a quaint  conceit,  and  one  that  the  fat  knight  Sir  John  Falstafi  would  have 
loved.  The  second  jug  and  third  are  of  a more  ancient  pattern.  The  surface 
of  the  first  is  divided  into  a number  of  medallions,  in  which  are  little  groups 
of  figures  illustrating  scripture  subjects.  We  recognize  in  the  medallions  seen 
in  the  engraving,  Rebecca  at  the  well,  the  daughter  of  Herodius,  and  the 
Widow’s  son  restored  to  life.  Probably,  could  we  see  the  central  medallion 
on  the  front,  we  should  discover  the  tableaux  of  the  Nativity  or  the  Cruci- 
fixion. But  though  these  vessels  bear  such  subjects  on  their  face,  they  were 
used  in  many  a jolly  carouse.  The  work  on  this  jug  is  perhaps  finer  and 


320 


THE  INTERNATIONAL  EXHIBITION,  1876. 


more  minute  than  on  any  of  the  others,  although  the  features  of  the  figures 
in  the  next  piece  are  sharply  and  clearly  defined.  In  this  piece  it  will  be 
observed  that  there  are  several  costumed  ficrures,  which  in  the  orieinals  are 
always  of  value,  as  illustrating  the  dress  of  the  time  in  which  the  jugs  were 
made.  The  fourth  one  of  this  group  is  of  a pattern  now  again  popular.  A 
band  or  zone  with  figures  of  gods  and  goddesses  surrounds  the  body  of  the 
piece,  which  is  moulded  to  represent  a woven  surface,  A narrow  border,  deco- 
rated with  a pretty  flower-pattern,  encircles  the  rim,  which  is  surmounted  by  a 
flat  cover.  As  has  been  indicated  in  these  descriptions,  all  of  these  jugs  are 
either  copied  from  or  designed  after  antique  models. 

The  Lambeth  faience,  manufactured  by  Doulton  & Co.,  of  England,  is 
already  familiar  to  our  readers  by  many  beautiful  examples  already  engraved  ; 
but  the  collection  exhibited  by  the  Messrs.  Doulton  at  the  Centennial  included 
so  many  styles  and  varieties  of  objects  to  which  the  skill  of  their  artists  had 
been  applied  that  the  supply  of  fresh  objects  for  illustration  ot  their  famous 
ware  is  practically  inexhaustible.  On  page  319,  for  example,  is  seen  a group 
of  jugs,  vases,  ewers,  etc.,  of  antique  and  modern  shapes,  each  with  some  charac- 
teristic bit  of  decoration,  giving  to  the  piece  a unique  value.  We  say  unique, 
because  it  must  be  remembered  that  each  of  these  pieces  is  decorated  by  hand 
at  the  artist’s  pleasure ; no  two  articles  are  exactly  alike.  How  much  better 
this  is  in  an  art  point  of  view  than  the  multiplication  of  one  given  style,  we 
need  not  here  consider.  It  is  sufficient  to  point  out  that  while  an  object 
accepted  as  a model  or  standard  of  excellence  in  form,  ornamentation  and 
decoration  is  always  beautiful  and  loses  nothing  by  duplication,  this  servile 
copying  is  fatal  to  all  artistic  activity  and  progress.  The  study  of  the  beautiful 
is  always  to  be  commended,  but  it  should  be  pursued  with  a view  to  directing 
original  ability  in  the  proper  directions  and  subject  to  the  acknowledged  canons 
of  art.  Here  and  there  in  the  group  before  us  we  recognize  examples  of  the 
pottery  known  as  Doulton-ware,  which  in  its  way  is  quite  as  beautiful  as  the 
Lambeth  faience. 

In  wandering  through  the  several  European  courts  at  the  Centennial,  the 
American  visitor,  whose  experience  of  civilization  had  been  confined  to  this 
country,  gained  for  the  first  time  a realizing  sense  of  the  luxury  of  the  old 
world.  It  is  true  that  the  homes  of  our  wealthy  classes  are  crowded  with 


Ebony  Inlaid  Cabinet : S.  Coco,  Italian  Court. 


322 


THE  INTERNATIONAL  EXHIBITION,  1876. 


objets  de  luxe  and  master  works  of  great  artists  brought  from  abroad,  but 
never  before  had  the  furniture  for  palaces,  the  magnificent  carved  pieces,  the 
exquisite  textiles,  the  costly  porcelains  such  as  we  all  had  read  about,  been  open 
to  the  general  view.  Every  nation  contributed  of  her  best  and  choicest  objects 
in  honor  of  our  Centennial  Exhibition,  and  many  of  the  chefs  d'ceuvt'e  there 
displayed  now  adorn  the  palaces  of  Europe  as  well  as  our  own  palatial 
homes. 

One  of  these  pieces,  an  Ebony  Inlaid  Cabinet,  manufactured  by  S.  Coco, 
OF  Elorence,  and  exhibited  in  the  Italian  Court,  is  seen  in  the  engraving  on 
page  321. 

We  can  readily  imagine  the  magnificence  of  the  apartment  in  which  such 
a piece  of  furniture  as  this  should  be  placed.  The  mere  cost  of  the  mechanical 
labor  in  constructing  this  cabinet,  without  considering  the  price  paid  for  the 
artistic  work,  must  have  been  very  great.  Its  details  cannot  be  appreciated 
without  careful  study.  Each  statuette — and  there  are  seventeen  of  them,  not 
including  the  busts  and  the  central  group — is  a perfect  work  in  itself.  In  the 
panels  are  medallions  with  portraits  of  master  artists  in  music  and  sculpture 
and  painting  inlaid  in  the  wood.  Wherever  the  eye  rests  there  is  some  beau- 
tiful piece  of  carving  or  design  to  hold  the  attention  ; while  looked  upon  at  a 
sufficient  distance  for  the  effect  of  the  whole  to  be  taken  in  at  once,  the  work 
is  seen  to  be  noble  in  its  proportions  and  free  from  those  frivolous  ornamenta- 
tions which  so  often  take  away  all  characteristic  form  from  such  elaborate 
constructions  as  this. 

In  the  English  Court  at  the  Centennial  was  an  exhibit  composed  entirely 
of  objects,  principally  of  personal  ornaments,  made  from  the  Irish  bog-oak. 
This  wood,  while  coarser  in  grain  than  ebony,  is  nearly  as  hard,  and  after  being 
submitted  to  a certain  process  becomes  quite  as  black  and  lustrous.  The  root 
of  the  tree  is  most  esteemed  in  the  manufacture  of  these  small  articles,  as  it 
is  harder  and  closer-grained  than  the  trunk  and  branches.  After  being  thoroughly 
dried  and  seasoned  it  is  cut  into  blocks  and  given  to  the  carvers.  The  prin- 
cipal seat  of  the  manufacture  of  the  ornaments  is  in  Dublin.  The  personal 
ornaments  mostly  are  mounted  in  red  gold,  which  makes  a rich  contrast  with 
the  black  wood.  Much  skill  is  displayed  by  the  carvers,  who  copy  natural 
objects,  such  as  leaves,  flowers,  ferns,  birds,  butterflies,  etc.,  or  exercise  their 


INDUSTRIAL  ART. 


323 


ingenuity  in  devising 
conventional  and  geo- 
metric patterns.  A 
very  favorite  object 
with  them  is  the  sham- 
rock. On  this  page 
we  eno^rave  several 
examples  of  these 
bog-oak  ornaments. 

The  artistic  excel- 
lence of  Japanese 
workmanship  is  finely 
illustrated  in  the 
Bronze  L.\mp  en- 
graved on  page  324. 
The  modelinof  of  the 
bird  is  most  spirited 
and  life-like.  The 
arrancrement  of  the 
feathers,  the  curve  of 
the  neck,  the  muscles 
of  the  legs,  the  erect 
position,  the  balance, 
all  show  a careful 
study  of  nature  and 
a thorough  know- 
ledge of  expression. 
The  detail  work  is 
marvelously  minute 
without  any  triviality. 
'I'he  featherinor  of 

o 

body  is  suggested 
rather  than  imitated  ; 
the  texture  of  the 


long  plumes  in  the 
wincrs  and  tail  is  in- 
dicated  by  a few 
strong  lines.  Nor  is 
the  least  admirable 
part  of  this  work  the 
portion  which  plays 
the  part  of  the  lamp. 
In  treating  this,  where 
so  many  spoil  the 
whole  effect  by  add- 
ing some  dispropor- 
tioned  and  inharmo- 
nious contrivance, our 
artist  has  rather 
added  to  the  charac- 
ter and  enhanced  the 
beauty  of  his  work. 
His  stork,  in  seizing 
at  an  eel,  has  grasped 
the  lower  portion  of 
a lily  as  well  as  the 
fish  in  his  strong  bill, 
and  torn  the  plant  up 
by  the  roots.  The 
open  flower  itself 
forms  a vase  for  the 
lamp,  while  its  leaves 
and  blossoms  make 
a graceful  ornament 
below.  Here  again 
we  see  the  wonderful 
observation  of  the 
Japanese  in  their 


324 


THE  INTERNATIONAL  EXHIBITION,  1876. 


study  of  natural  objects — this  time,  however,  coupled  with  that  subtle  desire  to 
give  a grotesque  turn  to  the  work,  which  is  their  great  characteristic.  The  lily- 
plant  is  somewhat  conventionalized,  and  the  root  writhes  about  as  if  sensible  of 
the  same  fears  which  animate  the  fish  ; while  to  the  stork  is  given  an  expression 


of  amazement  which 
plainly  questions. 
What  manner  of  mon- 
ster have  I captured, 
this  time  ? 

A fine  example  of 
ornamental  Book- 
binding, an  art  too 
much  neglected  in  the 
present  day,  is  given 
in  our  engraving  on 
page  325.  It  was  one 
of  the  fine  display 
made  by  Lortic,  of 
Paris,  which  attracted 
much  attention  from 
those  interested  in 
this  subject.  The  de- 
sicrn  is  a conventional 

o 

flower  and  leaf  pat- 
tern twined  about  a 
frame-work  which  is 
a geometric  develop- 
ment of  the  parts 
forming  the  medal- 


Bronze  Lamp  : yapanese  Court. 


lion  in  the  centre. 
The  whole  is  most 
gracefully  treated,  and 
is  in  admirable  con- 
trast to  those  foolish 
conceits  that  aim  to 
attract  to  the  con- 
tents of  the  book 
without  any  regard  to 
artistic  fitness  in  de- 
sign. 

Doubtless  it  is  well, 
when,  possible  to  give 
some  suggestion  of 
what  is  in  a book  by 
the  design  upon  the 
cover,  but  the  desire 
to  do  this,  and  further 
to  attract  to  the  con- 
tents by  making  the 
outside  attractive,  has 
introduced  some  most 
meretricious  notions 
into  bookbinding  es- 
tablishments. It  is 


bad  enough  to  see  a Book  of  Common  Prayer  with  a looking-glass  bound  into 
one  of  its  sides,  but  this  is  not  as  bad,  in  an  artistic  and  workmanlike  sense, 
as  to  see  a tiny  volume  for  the  pocket  hinged  and  bossed  like  the  portly 
mediaeval  tomes  whose  weight  and  rich  carving  required  these  protections. 

On  pages  326  and  327  we  have  engraved  examples  of  the  Jewelry 


IND  US  TRIAL  ART. 


325 


manufactured  by  Bellezza,  of  Rome.  The  first  is  a graceful,  thread-like  orna- 
ment, a web  in  which  jewels  are  caught,  like  dewdrops  in  the  net  of  the  spider. 
With  every  movement  the  delicate  gold  filaments  binding  the  jewels  are  set  in 
motion,  and  the  gems  dance  and  dazzle  in  the  light.  Observe,  too,  how  inge- 
niously the  artist  has  contrived  to  harmonize  the  lines  of  his  design,  making 


Example  of  Artistic  Book-binding : M.  Lortic,  Paris. 


them  all  circle  about  one  central  ornament,  which  contains  the  largest  and  most 
brilliant  gem  ol  all.  His  task  was  to  display  to  the  greatest  advantage  a 
number  of  jewels.  Neither  gold  nor  enamel-work  nor  ornamental-work  of  any 
kind  was  to  interfere  with  this  primary  object;  and  as  the  play  of  light  on  the 
surface  of  a jewel  adds  to  its  attractiveness,  it  was  necessary  to  set  them  so 
that  they  should  be  sensitive  to  any,  the  least  motion.  See  how  this  has  been 


326 


THE  IN  TERN  AT  1 0 NA  L EXHIB ITJON,  1876. 


accomplished.  From  the  bar  of  gold  lorming  the  circlet  of  the  necklace  they 
are  suspended  by  threads  of  gold,  with  dainty  gold  leaflets  between  each  pair 
of  jewels.  In  the  centre  of  the  bar  is  a rosette  of  delicate  workmanship  and 
some  elaborateness,  from  which  are  pendant  the  chief  jewel  and  its  encircling 
bands.  The  second  of  these  bands,  which  is  the  longer,  is  made  to  resemble  the 
spray  of  some  delicate  plant.  A forget-me-not  is  suspended  from  the  centre 
of  the  line  within.  On  either  side  of  this  central  design  are  ribbon-like  bands 
of  gold,  looped  together  into  a knot,  from  which  depends  a single  thread  of 

of  twisted  gold,  forms 
the  central  ornament. 
The  whole  is  sus- 
pended from  the  band 
of  the  necklace  by 
broad  gold  bands 
decorated  with  fine 
chasing.  On  either 
side  are  suspended 
chains  of  a peculiar 
design,  from  which 
radiate  long  golden 
spicules,  their  sur- 
faces covered  with 
small  projections,  and  resembling  in  shape  and  size  the  delicate  “needle-shells” 
found  on  the  southern  sea-coast.  The  effect  of  the  whole,  the  great  flashing 
jewel,  the  heavy  cable  of  red  gold,  and  the  scintillating  rays  on  either  side,  is 
rich  to  gorgeousness,  and  suggests  something  of  the  splendor  of  ornament 
affected  by  the  women  of  the  East. 

The  Jardiniere  and  Plaque  engraved  on  page  328  are  selected  as  speci- 
mens of  the  glassware  exhibited  by  Lobmeyr,  of  Vienna.  Every  one  who 

visited  the  Centennial  will  remember  that  very  remarkable  display  made  by  this 
manufacturer  in  the  Austrian  Court  of  the  Main  Buildino-.  Glass  in  almost 

o 

every  imaginable  form  was  there,  a bewildering  mass  of  color  and  glitter  and 
sparkle.  Indeed,  we  fancy  that  where  so  much  was  crowded  together,  but  few 
persons  really  took  in  more  than  the  general  effect,  being  quite  unable  to 


gold,  strung  with 
jewels,  hanging  be- 
tween other  and 
longer  threads,  which 
are  joined  together 
below  into  one,  a leaf 
and  jewel  marking 
the  point  of  junction. 

The  other  example 
is  of  a novel  and  more 
elaborate  style  than 
the  former.  A mag- 
nificent  central  jewel, 
encircled  with  a cable 


Portion  of  a Necklace  : N.  A.  Bellezza,  Rome. 


INDUSTRIAL  ART. 


327 


examine  in  detail  a tenth  part  of  the  curious  and  beautiful  things  there  to  be 
seen.  Here,  for  instance,  are  two  objects  which  are  worthy  of  careful  study, 
and  which  will  excite  the  admiration  of  every  one,  now  that  they  are  seen  by 
themselves ; yet  these  and  a hundred  other  beautiful  objects  were  simply  lost 
among  the  numberless  specimens  of  his  art  that  crowded  Lobmeyr’s  stalls.  It 
was  indeed  the  fault  of  the  Exhibition,  if  it  had  a fault,  that  it  was  too  vast  in 
its  plan  and  too  much  elaborated  in  its  details.  No  one  who  has  ever  talked 
with  another  on  any  given  department  can  have  failed  to  remark  how  many 
things  the  one  saw  that  the  other  did  not.  It  was  simply  a physical  impossi- 
bility to  see  an  object,  the 


everything  we 
specially  de- 
sired to  see. 
The  eye  grew 
weary  and  re- 
fused to  per- 
form its  func- 
tions. The  gaze 
would  be  cen- 
tered uncon- 
sciously upon 


while  the  mind 
was  searchinor 

o 

for  it.  We  are 
not  sure  that 
this  embar- 
rassment of 
riches  could 
have  been 
avoided,  or 
that  it  would 
have  been  wise 


Portion  of  a Necklace : N.  A.  Bellezza,  Rome. 


to  attempt  it;  yet  we  think  that  the  exhibitions  of  the  future  will  look 
more  towards  quality  than  quantity;  that  the  commissioners  of  the  several 
nations  will  be  asked  to  exercise  a wise  discretion  in  accepting  exhibits, 
and  confine  their  selections  to  what  may  be  worthily  exhibited  as  typical 
examples  of  art  and  industry,  rejecting  all  duplicates.  We  believe,  indeed, 
that  France  intends  to  adopt  some  such  regulation  as  this  in  her  forthcoming 
Exhibition. 

Returning  to  the  subjects  of  our  illustration,  we  must  first  remind  the 
reader  that  they  are  made  entirely  of  glass.  The  Plaque  is  made  in  two 
layers — one  of  colored  glass  and  the  other  of  clear  crystal.  The  colored  sur- 
face is  in  fact  a red  glass  enamel  upon  the  undermost  and  thicker  body.  The 
centre,  in  which  a rosette  has  been  cut,  and  the  rim  with  its  mouldings,  are  not 
enameled,  however,  so  that  the  effect  of  the  colored  portion  is  as  if  it  was 


328 


THE  INTERNATIONAL  EXHIBITION,  i8y6. 


separate  and  detached,  and  simply  rested  upon  the  crystal.  This  delusion  is 
increased  by  the  beautiful  scroll  decoration  seen  in  the  engraving,  which  is 
accomplished  by  cutting  through  the  enamel  to  the  crystal  surface  beneath.  By 


INDUSTRIAL  ART. 


329 


this  means  a very  brilliant  effect  is  produced,  and  a couple  of  these  plaques 
hung  against  a wall  would  form  a most  pleasing  ornament  to  a parlor  or 
library. 

The  Jardiniere  is  a more  elaborate  work,  and  in  the  decoration  of  its 
surface  the  engraver  has  exerted  himself  to  make  it  a masterpiece.  Each 
tendril  and  leaf-point  and  flower-petal  is  executed  with  the  greatest  nicety 


and  skill.  The  winged 
female  figures  at  the 
ends  of  the  vase,  serv- 
ing as  handles,  are  of 
glass,  treated  in  that 
manner  which  rough- 
ens its  surface  and 
makes  it  white,  opaque 
and  without  lustre. 
By  this  means  the  fine 
modeling  of  the  fea- 
tures and  the  render- 
ing of  the  texture  of 
the  wings  and  gar- 
ment can  be  seen  to 
better  advantage  than 
if  the  surface  was 
clear  and  polished. 
Most  of  the  other  or- 
namental accessories 


Flafon  d’ Odeur : French  Court. 


connected  with  these 
figures  are  of  glass  of 
different  colors,  and  a 
judicious  use  is  made 
of  gilding  in  order  to 
heighten  the  already 
brilliant  effect.  Sim- 
ply as  an  ornament 
for  a drawinor-room 

o 

table  this  finely  exe- 
cuted work  would  at- 
tract attention,  but 
filled  with  flowers  and 
ferns,  and  placed  as  a 
centre-piece  on  the 
dining-table,  it  would 
be  superb. 

A dainty  and  ex- 
quisite toy,  a Flagon 
d’Odeur,  with  gold 


mountings,  is  illustrated  in  our  engraving  on  this  page.  It  is  of  French  manu- 
facture, and  like  all  the  costly  trifles  produced  by  that  nation  there  is  an  artistic 
excellence  and  finish  in  the  workmanship  that  renders  its  origin  almost  unmis- 
takable. Moreover,  in  producing  things  of  this  kind  the  fancy  of  the  artist 
has  full  play,  and  he  can  give  expression  to  any  caprice  or  thought  that  pre- 
sents itself.  The  object  is  so  purely  ornamental  that  the  consideration  of  use 
is  of  little  consequence.  Hence  in  French  jewelry  and  personal  ornaments  of 
all  kinds  we  find  novelties  constantly  tempting  us,  and  while  many  of  the  objects 


330 


THE  INTERNATIONAL  EXHIBITION,  i8j6. 


are  bizarre  to  our  soberer  judgments,  the  major  portion  show  an  intimate 
knowledge  and  study  of  the  art  of  design,  and  very  few  indeed  are  without 
artistic  excellence  of  some  kind.  French  artists  and  artisans  seem  indeed  to 
have  learned  that  what  is  worth  doing  at  all  is  worth  doing  well.  In  this  Flagon 
d’Odeur  we  have  an  admirable  and  spirited  design  executed  in  an  admirable  and 
spirited  manner.  Even  the  small  knob  which  protects  the  base  of  the  phial  is 
as  perfect  in  its  proportions  as  the  elaborate  work  above  it ; and  as  if  the 
sumptuousness  of  the  gold  and  modeling  was  not  enough,  jewels  have  been 
added  wherever  an  effective  point  could  be  found. 


Silver  ycwel- Casket : 7.imvier»ian  Co.,  Hattau. 


Next  we  have  on  this  page  a Jewel  Case,  made  by  Zimmerman  & Co.,  of 
Hanau,  and  exhibited  in  the  German  Court.  This  case  or  casket  is  of  solid 
silver,  about  twelve  inches  long,  six  inches  wide,  and  as  many  high.  The  metal  is 
wrought  in  repousse.  It  is  an  admirable  study  of  purely  classical  design.  Around 
the  sides  of  the  cover  is  a band  with  scrolls  woven  about  grotesquely  formed 
animals,  forming  a continuous  pattern  such  as  is  seen  in  ancient  friezes.  At 
the  ends  of  the  casket  are  eagles’  heads  with  rings  in  their  beaks  for  handles. 
In  the  front  is  a medallion  containing  a female  head  wreathed  with  a laurel 
crown.  On  either  side  of  this,  on  the  same  panel,  are  vines  twining  upwards, 
and  doves  disporting  themselves  on  the  branches.  Borders  of  the  pine-apple 
pattern  surround  the  base  and  cover  of  the  casket,  completing  its  ornamentation. 

The  Brass  Gate,  which  forms  the  subject  of  our  illustration  on  page  331, 


INDUSTRIAL  ART. 


331 


was  part  of  the  enclosure  around  the  stall  of  Mitchell,  Vance  & Co.,  of  New 
York,  in  the  United  States  Court.  It  is  an  admirable  piece  ot  artistic  metal- 
work, a credit  alike  to  the  artist  who  designed  it  and  the  workmen  who  executed 
it.  Use  has  been  considered  before  ornament  in  its  construction,  and  we  see 
how  true  excellence  in  the  former  can  be  allied  with  simplicity.  The  material. 


Brass  Gate:  Mitchell.  V.ince  Co.,  Xew  York. 


too,  in  which  the  work  is  wrought,  has  not  been  forgotten,  and  all  the  ornamenta- 
tion is  ot  a perfectly  legitimate  kind.  A vine  gives  the  theme.  Strips  of  metal, 
forming  double  reversed  helices,  the  smaller  above,  the  larger  below,  fill  the 
space  within  the  square  of  the  frame-work  with  their  graceful  curves.  From 
the  main  stem,  tendrils  branch  off,  and  by  their  curves  give  more  breadth  to 
the  design.  Each  helix  has  a flower-shapetl  terminal,  and  here  and  there  along 
the  length  of  the  curve  are  leaf-like  projections,  all  introduced  not  only  with 


THE  INTERNATIONAL  EXHIBITION,  1876. 


an  eye  to  the  general  effect,  but  to  give  strength  and  stability  to  the  whole 
construction. 

The  display  of  ornamental  crystal  in  the  English  Court  was  not  equal  in 
comparison  with  the  importance  of  the  industry  to  the  display  of  ornamental 
pottery,  but  among  the  pieces  shown  were  some  worthy  of  illustration  as 


examples  of  that  branch 
of  Industrial  Art.  On  this 
page,  for  example,  we  illus- 
trate a Crystal  Epergne, 
which  for  lightness  and 
delicacy  of  design  is  note- 
worthy. The  base  con- 
sists of  a broad  shallow 
bowl,  suitable  for  fruits. 
From  its  centre  rises  an 
ornamental  pedestal  to  a 
dish,  in  which  flowers  and 
comfits  can  be  placed,  and 
above  this  rises  a tall, 
slender,  trumpet -shaped 
vase  for  flowers  and 
grasses.  The  vase,  the 
dish  and  the  bowl  are  of 
the  clearest  crystal,  the 
two  latter  en<xraved  with 
a graceful  pattern,  as  deli- 


Crystc.l  Lper^ne  : English  Court. 


cate  and  fine  as  the  tracery 
of  a cobweb. 

Two  examples  of  Jew- 
elry, the  one  from  Rome 
and  the  other  from  Milan, 
are  shown  in  our  enarav- 
ings  on  page  333.  The 
lower  one  is  a portion 
of  a necklace,  as  purely 
classic  in  style  as  it  is 
possible  to  obtain.  Indeed, 
we  should  not  be  sur- 
prised if  it  was  a repro- 
duction of  some  one  of 
the  ancient  examples.  It 
consists  simply  of  a series 
of  pendant  gold  orna- 
ments, shaped  like  am- 
phorae, linked  together  by 
means  of  perfectly  plain 
bands.  Nothing  could  be 


more  severely  pure  than  this  design,  and  yet  its  quiet  elegance  is  apparent. 

Beautiful  of  its  kind,  yet  in  marked  contrast  with  the  one  below  it,  is  the 
Necklace  and  Cross  from  Rome.  Here  the  precious  metal  is  made  simply  a 
vehicle  for  the  display  of  the  most  brilliant  enamels  and  the  subtlest  skill  of 
the  engraver’s  chisel.  Gems,  too,  are  introduced  as  occasion  offers,  and  aside 
from  the  beauty  of  the  design,  the  ornament  will  be  admired  as  an  example 
of  the  perfection  of  technical  execution. 

On  pages  334  and  335  are  two  more  examples  of  English  Gla.ss.  The 


INDUSTRIAL  ART. 


333 


first  is  a specimen  of  opalized  glass,  reflecting  the  peculiar  tints  of  that  gem 
from  its  surface.  On  the  side  is  a medallion  head  executed  in  relief,  sur- 


rounded by  a 
wreath  of  ferns  and 
flowers  delicately 
indicated  by  light 
etching.  The  piece 
is  of  that  finely 
symmetrical  shape 
which  is  always 
most  observable  in 
glass  which  is 
blown.  The  second 
example  is  a speci- 
men of  glass-cut- 
ting. Here  lustre 
and  prismatic 
beauty  are  obtain- 
ed by  a proper 
cutting  of  the  facets, 
and  this  jewel-like 
effect  is  especially 
noticeable  in  the 
handle  of  this  de- 
canter. 

As  examples  of 
the  art-pottery  of 
Austria, we  engrave 
on  page  336  a 
group  of  Porcelain 
furnishes  the  theme  for  the  design 


Vases  selected  from 
the  exhibition  in 
the  Austrian  Court. 
One  is  much  sim- 
pler in  its  decora- 
tion than  the  others, 
there  being  but 
little  work  in  relief 
upon  its  surface, 
and  the  decorative 
pattern  consisting 
chiefly  of  geometric 
patterns  with  leaf- 
sprays  between. 
The  second  piece 
of  the  group  is 
classic  in  shape  and 
richly  decorated,  a 
noteworthy  feature 
in  the  design  being 
a winged  cupid, 
executed  in  a most 
spirited  manner 
and  with  rare  grace. 
The  third  vase  is, 
perhaps,  the  most 
elaborate  of  the 
three.  The  sea 
A group  of  dolphins  form  the  base,  and 


Portion  of  Necklace  and  Cross  : Salvo  6^  Co.,  Rome. 


Portion  of  Necklace  : ferardini,  Milan. 


their  bodies  wound  about  a sea-plant  make  the  pedestal.  Above,  the  bowl,  its 
edge  bound  round  with  sea-weed,  is  ornamented  with  four  sea-horses  bending 
over  the  margin,  as  if  contemplating  a swim  within  the  basin.  Shells  and 


334 


THE  INTERNATIONAL  EXHIBITION,  1876. 


coral  and  other  symbols  of  the  ocean  are  grouped  about  this  piece,  which  is 
altogether  an  extremely  well-conceived  piece  of  work. 

Of  all  the  arts,  that  of  the  potter  has  perhaps  the  widest  and  most  diverse 
range.  The  ornamental  and  decorative  objects  which  he  fashions  are  only  less 
numerous  than  the  humbler  articles  of  pottery  which  obtain  all  over  the  world. 
The  growth  of  civilization  can  be  traced  in  the  progress  of  the  fictile  art 
through  its  original 
crude  stages  to  the 
production  of  works 
the  very  perfection  of 
artistic  skill  and  excel- 
lence. In  this  country, 
where  nature  has  sup- 
plied the  workman 
with  the  very  best 
materials  for  the  man- 
ufacture of  all  grades 
of  stoneware,  china 
and  porcelain,  it  is 
only  a question  of 
time  and  education 
until  we  hold  a fore- 
most place  in  this  most 
important  manufac- 
ture. American  man- 
ufactures of  several 
kinds  are  already 
can  manufactures,  particularly  of  metals  and  cottons,  is  manifest,  and  cannot 
justly  be  decried  by  British  importers.  On  the  contrary,  sagacious  manufactu- 
rers who  visited  the  Centennial  Exhibition  have  fully  admitted  that  the  decline 
in  wages  and  raw  materials  in  the  United  States,  and  the  sample  labor-saving 
appliances,  coupled  with  the  intelligence  and  excellence  of  the  work  of  the 
artisan,  must  of  necessity  produce  a formidable  competition  with  foreign  pro- 
ductions.” All  we  need  now  to  cultivate,  to  excel  in  the  higlier  and  artistic 


Crystal  Decanter:  English  Court. 


making  their  way  into 
foreign  markets  with 
surprising  rapidity.  In 
a recent  report  on 
some  American  man- 
ufactures, the  Consul- 
General  of  Great 
Britain  says  that  “in  a 
commercial  point  of 
view  the  United  States 
and  Great  Britain  may 
be  said  in  certain  re- 
spects to  be  changing 
places,  and  with  a ra- 
pidity which  no  one 
anticipated,  though  it 
has  long  been  per- 
ceived that  the  ten- 
dency has  been  that 
way.  The  excellence 
of  some  of  the  Ameri- 


INDUSTRIAL  ART. 


335 


branches  of  industry,  is  the  intelligence  of  our  workmen.  In  this  particular 
field  of  pottery,  their  artistic  instinct  must  be  manifest  to  every  one  who  visited 
the  American  Court  and  saw  the  specimens  of  fictile  art  exhibited  there.  Intel- 
ligent training  and  familiarity  with  the  best  models  would  in  a few  years  make 
the  work,  which  already  has  the  technical  excellence  necessary,  compare  favor- 
ably with  that  of  foreign  nations. 

If  we  remember  how  absolutely  deficient  in  artistic  excellence  English 


pottery  was  before  the 
days  of  Wedgwood,  we 
may  hope  that  another 
such  as  he  may  give  the 
needed  impetus  to  our 
own  manufacture.  We 
are  speaking  now  more 
especially  of  thefictileart 
in  its  orna-mental  uses; 
for  the  part  that  pottery 
plays  in  the  production 
of  Wedgwood  ware  is  a 
subordinate  one.  The 
exquisite  work  made 
by  this  master  is  more 
allied  to  sculpture  or  the 
glyptic  art  than  to  pot- 
tery. The  gem-cutter’s 
tools  were  always  used 


Crystal  Decanter : English  Court. 


potter’s  work,  and  by 
this  means  it  was  that 
the  Wedgrwood  cameos 
are  literally  deserving 
of  that  name.  Wedg- 
wood it  must  be  remem- 
bered, besides  making 
minute  and  exact  copies 
of  antique  bas-reliefs 
and  alto-reliefs,  employ- 
ed such  artists  as  Flax- 
man  and  Pacetti  to  fur- 
nish him  with  original 
designs,  which  he  had 
modeled  by  Webber, 
one  of  the  most  skillful 
workmen  of  his  time. 
It  was  this  aiming  after 
the  very  best  in  art  that 
gave  the  inventor  of 


to  finish  and  perfect  the 
this  unique  English  ware  his  great  name  and  fame. 

It  has  sometimes  been  contended  that  the  ceramic  art  in  England  reached 
its  highest  excellence  in  these  marvelous  productions  of  Wedgwood,  but  this  is 
certainly  too  broad  and  sweeping  an  assertion.  That  in  this  particular  form  of 
ornament  nothing  has  since  been  produced  to  rival  the  Wedgwood  ware  is  quite 
true,  but  there  are  other  ways  in  which  the  art  has  been  brought  to  the  highest 
perfection,  and  in  a manner,  moreover,  more  in  harmony  with  the  traditions  and 


336 


THE  INTERNATIONAL  EXHIBITION,  1876. 


methods  of  fictile  art,  as,  for  instance,  in  the  pdte-sur-pdte,  examples  of  which 
we  have  engraved  in  these  pages.  Wedgwood  discovered  new  processes  and 
a new  art,  an  art  as  distinctively  national  and  as  important  in  its  way  as  was 
the  discovery  of  Lucca  della  Robbia.  His  beautiful  and  ingenious  imitation  of 


the  Portland  or  Bar- 
berini  vase  will  always 
remain  a monument 
of  excellence  in  a pe- 
culiar art  which  is 
nowin  its  decadence; 
but  new  methods  and 
other  processes  of 
manufacture  must 
not  be  judged  by  the 
former  standard. 


In  Italy  there  is  a 
movement  makincr  to 

o 

return  to  the  old  ways 
of  decorating  pottery, 
and  more  especially 
to  use  the  same  ma- 
terials and  pigments 
as  formerly.  The 
labor  of  chemists  and 
students  of  ceramics 
is  being  devoted  to 


Group  of  Porcelain  Vases : Austrian  Court. 


a re-discovery  of  the  ancient  processes,  which  surpass  all  modern  work.  There 
was  exhibited  at  the  Centennial  a small  but  exceedingly  interesting  collection 
of  faience  made  at  a fabrique  near  Naples,  in  which  the  efforts  of  one  man  in 
this  direction  were  illustrated.  In  making  and  decorating  his  wares  he  endeav- 
ored to  follow  as  nearly  as  possible  the  traditional  methods  which  produced 
what  are  now  the  treasures  of  our  cabinets.  Though  the  work  was  somewhat 


INDUSTRIAL  ART. 


337 


crude,  there  was  abundant  evidence  to  prove  that  he  was  laboring  in  the  right 
direction.  Some  of  the  pignients,  the  blues  and  greens  in  particular,  were  quite 


y.  Templeton  6^  Co..  Glasgow.  Scotland. 


as  brilliant  and  of  a purer  color  than  those  in  ordinary  use  which  are  com- 
monly imported  from  Germany.  The  artist  had  not  reached  that  point  when 


338 


THE  INTERNATIONAL  EX  H I B I T 1 0 N,  1 8 7 6. 


he  felt  that  he  could  attempt  the  production  of  the  lustered  ware,  the  true 
majolica,  but  he  was  confident  that  he  would  attain  to  that  stage  in  due  season. 

Our  illustration  on  page  337  represents  a section  of  a Carpet  exhibited 
by  Messrs.  J.  Templeton  & Co.,  of  Glasgow,  Scotland.  The  pattern  in  the 
centre  consists  of  geometric  figures,  as  graceful  and  delicate  as  snow-crystals, 
symmetrically  arranged  on  a ground  of  neutral  color,  but  two  or  three  shades 
darker  than  the  figures  themselves.  At  regular  intervals,  medallions  of  a bright, 
positive  color  are  introduced,  on  which  are  small,  flower-shaped  figures  of  the 
same  hue  as  the  pattern  in  the  other  portion  of  the  fabric.  A bright  border, 
with  a much  lighter  ground,  surrounds  the  centre,  and  makes  an  effective  con- 
trast of  color.  The  design  in  this  portion  of  the  carpet  is  of  a different 
character  froni  that  in  the  other  portion,  the  designer  doubtless  having  in  view 
the  fact  that  as  this  part  of  a floor-covering  is  subject  to  less  wear  or  use,  a 
less  conventional  style  of  decoration  is  more  admissible.  He  has  therefore  given 
us  here  a series  of  garlands  and  vases,  with  bouquets  of  natural  flowers  along 
the  sides,  ending  in  the  corners  in  wreaths  and  vignettes. 

It  is  a curious  fact  that  the  custom  of  decorating  carpets  with  flowers, 
leaves,  grass,  moss,  and  the  like,  strewn  over  the  surface,  is  comparatively  of 
modern  origin,  while  the  pictorial  representation  of  animals,  grotesque  and 
fabulous  monsters  on  rugs  and  floor-cloths  can  be  traced  back  to  a very  remote 
antiquity,  even  to  Babylonian  times.  These  ancient  rugs,  however,  are  more 
properly  to  be  classed  as  heavy  tapestries  than  carpets.  All  through  Asia  the 
business  of  carpet-weaving  has  been  carried  on  for  ages,  and  to  this  day  their 
hand-woven  rugs  exceed  in  richness  and  harmonious  blending  of  color,  and  in 
real  excellence  of  design,  the  most  perfect  products  of  European  looms.  There 
was  a time  in  England  when  the  imitations  of  Turkey  carpets  produced  there 
were  even  more  expensive  than  the  genuine,  but  this  was  owing  to  the  fact 
that  in  the  imitations  worsted  yarn  was  used  instead  of  wool,  as  in  the  Turkey 
carpet. 

For  many  years  after  the  introduction  of  carpets  into  Europe,  they  were 
esteemed  as  great  luxuries,  and,  indeed,  a floor  entirely  hidden  under  a covering 
of  this  kind  is  a caprice  of  modern  times,  only  made  possible  by  the  discovery 
of  a means  to  manufacture  carpet  by  machinery.  Rushes,  plaited  or  strewn 
smoothly  over  the  floor,  was  the  first  step  made  in  this  respect  towards  warmth 


INDUSTRIAL  ART. 


339 


Banner  and  Stole  : Belgian  Department. 


340 


THE  INTERNATIONAL  EXHIBITION,  1876. 


and  comfort  by  our  ancestors.  I^ong-  after  the  small  Eastern  rugs  were  known 
to  Western  Europe,  the  homely  straw  or  rushes  continued  to  be  used  in  most 
of  the  reception-chambers  of  the  household. 

The  first  carpet  factory  of  importance  in  Europe  was  established  in  Erance, 
from  whence  the  manufacture  extended  to  England  and  Germany,  where  there 
grew  up  many  notable  centres  for  the  trade.  It  was  reserved  for  an  American 
inventor,  Mr.  E.  B.  Bigelow,  of  Boston,  to  succeed  in  bringing  the  aid  of 
machinery  to  bear  upon  the  production,  and  so  to  revolutionize  the  whole  trade. 
It  is  now  some  forty  years  since  this  gentleman  discovered  a means  of  applying 
the  power-loom  to  carpet-weaving,  and  in  the  next  few  years,  by  perfecting  his 


Russian  yewelry : Krttmb'ugel,  St.  Petersburg. 


machinery,  making  it  capable  of  producing  the  several  kinds  of  carpet  from 
Ingrain  to  Brussels.  This  invention,  as  we  have  said,  revolutionized  the  busi- 
ness, and  has  been  the  means  of  making  what  was  once  a luxury  and  novelty 
to  the  rich,  a part  of  the  furniture  of  the  humblest  home. 

On  page  339  we  illustrate 'an  ecclesiastical  Banner,  exhibited  in  the  Belgian 
Department  of  the  Exhibition.  This  fine  example  of  embroidery  is  intended 
to  figure  the  grand  doctrine  of  the  Atonement,  and  from  the  pictorial  presen- 
tation of  the  subject  in  the  centre  of  the  banner,  through  all  the  symbolic  acces- 
sories to  the  design,  we  have  the  one  theme  strongly  and  unmistakably  brought 
before  us. 

The  intimate  connection  of  the  development  of  this  beautiful  art  of 
embroidery  with  the  Christian  religion  is  admirably  shown  in  the  collections  of 
ecclesiastical  vestments  preserved  in  many  of  the  churches  and  museums  of 


INDUSTRIAL  ART 


341 


Europe  and  England.  The  pious  munificence  of  the  rich  presented  the  Church 
with  the  most  precious  stuffs  of  the  loom,  enriched  with  the  most  cunning  skill 
of  the  needle.  In  the  schools  connected  with  the  monasteries,  embroidery  was 
taught,  and  what  is  now  an  art  known  only  to  women  was  in  ancient  days 


ytiil+fililll ? 'r r 

Cloch : Aus/rian  Court. 


largely  practised  by  men.  Going  lurther  back  still,  to  the  times  of  the  Bible, 
we  read  of  the  rich  vestments  made  for  the  priests  who  ministered  in  the  holy 
places,  and  mention  is  made  of  one,  Ooliab,  the  son  of  Achisamech,  of  the 
tribe  of  Dan,  who  made  vestments  for  Aaron,  showing  that  the  art  was  even 
then  fostered  and  encouraged  by  religion. 


342 


THE  INTERNATIONAL  EXHIBITION,  1876. 


On  page  340  we  illustrate  a number  of  examples  of  Russian  Jewelry, 
from  the  exhibit  made  by  M.  Krumbugel,  of  St.  Petersburg.  There  are  several 
very  different  styles  in  this  group,  yet  each  and  all  are  marked  with  originality 
and  characteristic  treatment.  The  central  pair  of  ear-rings  have  a suggestion 
of  French  feeling  in  their  design,  but  not  enough  of  it  to  allow  them  to  be 
mistaken  for  French  jewelry.  In  the  other  pieces,  especially  in  the  right-hand 
one  of  the  group,  the  oriental  spirit  and  freedom  of  design  are  manifest. 


Norwich  Gate:  Barnard,  Bishop  Barnards,  Norwich,  England. 


In  execution,  the  Russian  jewelry  at  the  Centennial  as  a rule  did  not  affect 
minute  and  delicate  treatment  as  much  as  brilliancy  of  effect  and  gorgeousness 
of  color.  Enamel  was  freely  used  whenever  a rich  contrast  could  be  produced 
with  it,  and  a profusion  of  the  most  brilliant  gems  was  another  characteristic 
of  the  display. 

Until  the  invention  of  wheel-clocks  moved  by  weights,  which  some  persons 
attribute  to  the  genius  of  Archimedes,  the  science  of  horology  was  in  a crude 
state  of  development.  The  clepsydra,  or  water-clock,  was  perhaps  the  most 
perfect  piece  of  mechanism  for  measuring  time  known  to  the  ancients,  although 


INDUSTRIAL  ART. 


343 


It  was  not  as  accu- 
rate as  the  sand- 
glasses which  af- 

o 

terwarcls  came  into 
very  general  use. 
The  earliest  form 
of  clepsydra  was  a 
reservoir,  usually  a 
transparent  vase, 
filled  with  water. 
A small  orifice  at 
the  bottom  allowed 
the  liquid  to  flow 
out  gradually,  the 
level  of  its  surface 
in  the  vessel  mark- 
ing the  time.  Later 
a method  by  which 
the  water  was  made 
to  drip,  drop  by 
drop,  upon  a wheel, 
which  communi- 
cated motion  to  a 
statue  that  pointed 
with  a wand  to  a 
disk  marked  with 
divisions  of  time, 
was  invented. 
Some  of  these 
clepsydras  were' 
very  costly  and  in- 


Enlargement  of  Norwich  Gate : Barnard.  Bishop  6^  Barnards. 


genious,  and  to 
these  pointing  stat- 
ues may  be  traced, 
perhaps,  the  mod- 
ern dial  with  its 
movable  hands. 
The  earliest  form 
of  sun-dial  by 
which  the  time  of 
day  was  measured 
was,  probably,  a 
plain  column  erect- 
ed on  some  level 
spot  — the  instru- 
ment known  to  us 
as  a sun-dial  be- 
longing to  a much 
later  period. 

But  all  these 
ancient  st)les  of 
horologues  were 
superseded  by  the 
application  to  time- 
markers  of  ma- 
chinery moved  by 
weights,  and  after- 
wards by  springs, 
and  the  use  of  the 
pendulum  with  its 
exact  oscillations. 
With  the  introduc- 


tion of  the  pendulum  for  this  purpose,  a new  era  began  in  clock-making,  and 
the  ingenuity  of  scientific  men  was  directed  to  perfecting  the  methods  of  its 
use  and  making  the  machinery  what  it  is  at  present,  the  perfection  of  mechanism 


344 


THE  INTERNATIONAL  EXHIBITION,  1876. 


and  scientific  knowledge.  Correct  timekeepers,  both  watches  and  clocks,  are 
things  of  such  ordinary  and  universal  use  now-a-days  that  few  people  pause  to 
consider  what  a triumph  of  invention  the  mechanism  is.  Assuming,  as  a matter 
of  course,  that  the  works  are  all  right,  the  purchaser  of  a costly  watch  or  clock 


seeks  rather  to  please  his  fancy  as  to  the  style,  shape,  size,  etc.,  of  the  object ; 
and  it  would  be  hard  to  find  any  article  of  use  or  ornament,  or  both  combined, 
that  is  offered  to  the  public  under  so  many  different  shapes  and  disguises  as 
the  modern  clock.  Almost  the  whole  range  of  classic  sculpture  has  been  made 


INDUSTRIAL  ART. 


345 


/ 


subservient  to  its  use.  Atlas  sweats  under  the  weight  of  its  works,  and  the 
Ladcoon  writhes  with  it  in  his  belly.  A favorite  and  an  excellent  style  is  to 
insert  the  works  and  dial  into  a pedestal  for  a statuette,  usually  of  bronze. 


Many  of  these  are 
exquisite  works 
of  art,  admirable 
copies  of  the  an- 
tique or  modern 
productions;  but 
by  far  the  greater 
number  are  about 
as  poor  specimens 
of  ornament  as  the 
market  affords.  In- 
deed, as  a rule, 
clock-statuary  is  to 
be  avoided. 

On  page  341  we 
illustrate  a style  of 
Clock,  exhibited 
in  the  Austrian 
Court  at  the  Ex- 
hibition, that  makes 
no  pretence  of  be- 
ing anything  other 
than  what  it  is,  and 
in  which  the  design 
and  ornament  is 
studied  with  due  ref- 
erence to  the  use  for 
which  the  object  is 


Cabinet : Cooper  Holt,  London. 


intended.  The  sim- 
plicity of  the  design 
is  offset  by  elabo- 
rateness in  the  de- 
tail of  the  decora- 
tion, which  is  rich 
and  well  conceived. 
In  the  panels  of  the 
dome  is  some  very 
fine  work,  speci- 
mens of  which  are 
shown  in  the  vig- 
nettes. Above  the 
dome  is  an  open 
belfry,  containing  a 
bell  and  hammer — 
which,  by  the  way, 
in  ancient  times, 
was  the  clock  of  the 
horologue-^so  that 
the  vibration  of  the 
metal,  when  the 
hours  are  struck,  is 
not  muffled,  but 
rings  out  clearly 
and  with  distinct- 
ness. Another  fea- 
ture, companion- 


able or  distracting,  according  to  one’s  mood,  is  the  pendulum  swinging  backward 
and  forward  across  the  face  of  the  dial,  attracting  the  eye  by  its  mute  motion 
to  the  ever-advancinu'  hands  and  to  the  significant  letrend  inscribed  above  them. 


346 


THE  INTERNATIONAL  EXHIBITION,  1876. 


We  have  already  made  mention  of  the  admirable  display  of  vvrought-iron 
work  in  the  English  Court  of  the  Exhibition,  notable  examples  of  which  have 
been  illustrated  in  these  pages.  Another  example,  and  one  well  worthy  of 
careful  study  by  those  interested  in  the  subject,  are  the  Norwich  Gates,  manu- 
factured by  Barnard,  Bishop  & Barnards,  of  Norwich,  England,  shown  on 
pages  342  and  343.  These  gates  are  made  of  wrought-iron,  welded  together 
and  secured  by  wrought-iron  bands.  Each  leaf,  tendril,  sprig,  and  branch  of 
the  scroll-work  was  wrought  by  hand  from  forged  iron.  In  no  instance  was 


Faience  of  Gien  et  Loiret : French  Collective  Exhibit. 


the  die,  stamp,  mould  or  matrix  used.  The  work  is  in  every  respect  creditable 
to  the  skill  of  the  artisan  and  the  artist.  In  considering  the  design  it  will  be 
seen  that  it  has  two  principal  features — open  scroll-work  and  panels.  For  the 
former  the  oak  and  thorn  are  taken  as  types,  the  analysis  of  their  foliage  and 
dowers  and  method  of  growth  being  studied  with  a view  to  the  ornamental 
forms  to  be  derived  from  them.  In  the  same  way  the  ornamentation  of  the 
panels  in  the  lower  part  of  the  piers  is  derived  from  the  wheat-  and  corn- 
dower,  the  oat,  the  barley  and  wild  poppy,  the  grape,  the  rose,  the  purple  iris, 


INDUSTRIAL  ART. 


347 


the  monkshood  and  wild  geranium,  with  other  flowers.  In  the  upper  panels 
are  various  kinds  of  heaths,  wherein  the  rebus  of  the  firm — Four  Bees — and 
the  monogram  of  the  designer  are  introduced. 

The  upper  panels  of  the  gates  are  ornamented  on  one  side  with  swallows 
and  other  birds,  and  a pattern  of  apple-blossoms,  and  with  butterflies,  moths, 
may-flies,  etc.,  and  a pattern  of  almond-blossoms.  On  the  other  side  the  cor- 
responding panels  contain  the  convolvulus,  honeysuckle,  the  sun  and  the  lark, 


Portion  oj  Curtain  : Royal  School  of  Art  Needle-work. 


symbolizing  Day;  and  the  ivy  and  pine,  the  owl  and  the  bat,  symbolizing 
Night. 

In  the  lower  panels  of  the  gate  the  four  seasons  are  typified  by  the  naked 
branch,  the  branch  with  bud  and  blossom,  the  full  foliage  of  summer,  and  the 
fruit  of  autumn.  All  of  this  enrichment  is  executed  in  repousse,  the  design 
having  first  been  drawn  on  the  metal  plate,  which  was  then  placed  on  a soft 
metal  table,  and  the  pattern  beaten  up  from  the  back  with  hammers  and 
punches,  and  finished  on  the  face  with  similar  tools. 


348 


THE  INTERNATIONAL  EXHIBITION,  1S76. 


Another  example  of  English  metal-work  and  ornamental  design  is  illus- 
trated on  page  344.  The  subject  here  is  a Fire-place,  with  all  its  furniture, 
manufactured  and  exhibited  by  Messrs.  Steel  & Garland,  of  London.  As  a 


rule,  we  in  this  country  know  too  little  of  ornamental  open  fire-places.  The 


huge  chimney  chasms  in  our  old  houses,  intended  for  burning  logs,  made  no 
pretence  to  anything  but  homely  comfort ; and  the  air-tight,  sheet-iron  American 


INDUSTRIAL  ART. 


349 


Ch'unney-piece  and  W'ainscoling : Cooper  Holt,  London. 


Stove — a most  efficient  and  economic  room-warmer — followed  afterwards  by 
the  invention  of  the  hot-air  furnace  and  steam-heating  apparatus,  have  since 


350 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


come  into  almost  universal  use.  But  in  England  the  pleasant  traditions  of  the 
hearth-stone  have  been  kept  and  made  a living  reality  in  the  modern  fire-place. 
So,  when  the  present  art-revival  began,  and  everybody  set  to  work  studying 
furniture  and  room  decoration,  attention  was  at  once  directed  to  the  fire-place 
as  one  of  the  principal  features  of  the  apartment.  Our  illustration  shows  what 
has  been  achieved  in  this  direction.  Here  is  a design  which  the  most  exacting 
household-art  critic  will  find  no  fault  with,  though  it  suggests  more  solid  comfort 
than  can  always  be  derived  from  the  styles  of  furniture  which  he  most 
approves  of. 

As  an  offset  to  the  Fire-place,  we  may  fancy  the  Cabinet,  illustrated  on 
page  345,  occupying  a recess  in  the  same  room.  This  fine  piece  of  work,  made 
by  Cooper  & Holt,  of  London,  is  quite  in  keeping  with  the  Fire-place,  and  is 
another  example  of  the  effect  of  art-culture  applied  to  the  industries.  Honesty 
of  construction,  avoidance  of  trivial  and  over-ornamentation,  the  study  of  utility 
before  decoration,  each  and  all  of  these  are  exemplified  in  this  Cabinet.  There 
is  nothing  sham  or  make-believe  about  it.  With  the  exception  of  the  enrich- 
ment of  the  panels,  which  are  admirable  specimens  of  tlie  carver’s  art,  there 
is  nothing  in  the  work  that  could  not  be  done  by  any  clever  carpenter  owning 
a box  of  tools  and  a lathe.  It  is  the  harmony  of  the  design,  the  correctness 
of  all  the  proportions,  that  give  to  the  whole  its  pleasing  effect,  and  here  it  is 
that  education  in  the  principles  of  art  applied  to  the  industries  becomes 
apparent. 

Having  placed  this  Cabinet  in  the  room  with  the  Fire-place,  we  may  place 
among  the  bric-a-brac  on  its  shelves  the  specimens  of  Faience  of  Gien  et 
Loiret,  illustrated  on  page  346.  These  characteristic  examples  of  this  kind  of 
pottery  are  taken  from  the  French  Collective  Exhibit,  which  was  rich  in  modern 
wares  and  copies  of  ancient  styles.  The  decoration  of  these  pieces  is  of 
felicitous  excellence,  and  as  they  may  be  regarded  more  as  ornaments  than 
works  of  utility,  the  profusion  of  enrichment  increases  the  pleasure  in  their 
beauty. 

And  having  grouped  the  last  three  illustrations  together,  we  may  with  pro- 
priety add  the  Curtain,  a portion  of  which  is  seen  in  the  engraving  on  page 
347,  as  part  of  the  hangings  in  this  ideal  apartment.  Those  of  our  readers  who 
have  followed  us  this  far  will  have  rightly  guessed,  already,  that  this  Curtain  is  the 


INDUSTRIAL  ART. 


351 


work  of  the  women  at  the  Royal  School  of  Art  Needle-work,  in  London. 
The  design  is  one  of  the  most  graceful  and  artistic  of  the  many  which  were 


Plaque — Bath-Sheba  at  the  Bath  : Elkington  &=  Co.,  Birmingham , England. 


shown  in  the  exhibit  of  this  institution.  The  natural  growth  of  the  vine  has 
herein  been  studied  and  conventionalized  for  decorative  purposes  in  the  happiest 


35^ 


THE  INTERNATIONAL  EXHIBITION,  iSy6. 


and  most  agreeable  manner.  We  can  wish  the  happy  possessor  of  the  room 
which  we  have  furnished  to  this  extent  no  better  fortune  than  that  the  articles 
still  wanting  to  make  the  place  habitable  may  be  each  as  excellent  in  their  way 
as  these  are. 

On  page  348  we  illustrate  a Lace  Collar,  exhibited  in  the  collection  of 
French  manufactures  in  the  Women’s  Pavilion  at  the  Centennial.  Judging  from 
the  general  appearance  of  the  design  as  seen  in  the  engraving,  we  should  say 
this  collar  was  a specimen  of  the  needle-made  lace  of  Alengon,  the  only  place 
in  P'rance,  except  Argentan,  where  point  lace  is  made  at  the  present  time. 
Colbert,  the  celebrated  minister  of  Louis  XIV,  established  the  Alen^on  industry, 
and  induced  Venetian  lace-makers  to  make  their  home  at  his  chateau  in  order 
to  teach  his  people  the  stitch.  But,  unable  to  learn  this,  the  French  workmen 
invented  a method  and  style  of  their  own,  which  has  been  handed  down,  with 
but  little  variation,  to  the  point  d’Alen^on  lace-makers  of  the  present  time. 

The  subject  of  our  illustration  on  page  349  is  an  oak  Chimney-piece  and 
Wainscoting,  manufactured  by  Messrs.  Cooper  & Holt,  of  London,  and  exhibited 
by  them  in  their  department  in  the  English  Court  at  the  Centennial.  The  fire- 
place proper,  which  is  but  a small  part  of  this  massive  construction,  is  faced 
with  an  iron  front,  decorated  with  incised  scroll-work.  This  is  set  in  a recess, 
lined  at  the  back  and  on  the  sides  with  colored,  square  tiles.  Over  this  recess 
is  a cupboard,  standing  out  some  distance  from  the  wall;  and  above  this  again 
is  a shelf  with  a sloping  back.  The  object  of  this  arrangement  is  to  imitate  an 
old-fashioned  fire-place,  hearth  and  projecting  chimney-piece  of  ample  propor- 
tions. The  other  parts  of  the  design  harmonize  with  this  view.  On  either  side 
of  the  hearth-walls  are  paneled  wainscotings  about  four  feet  in  height.  The 
curved  braces  of  the  chimney-mantle  rest  on  the  wainscot-rail  and  support  a 
pair  of  low,  broad  cupboards  placed  on  either  side  of  the  central  shelf.  Over 
these  cupboards  are  open  spaces  where  china  can  be  displayed,  and  then  iollows 
another  shelf  or  roof  supported  by  pillars.  Above  the  central  shelf  the  roof 
rises  to  double  the  height  of  the  shelves  on  either  side,  with  curved  panels, 
rounding  forward  from  the  back. 

The  general  outline  of  this  Chimney-piece  would  be  severely  plain  if  it 
was  not  for  the  few  curved  lines  introduced  at  the  several  points  of  support 
and  at  the  back  of  the  central  roof ; and  when  we  look  at  the  detail  of  the 


INDUSTRIAL  ART 


353 


work  we  find  that  it  has  been  enriched  with  carving  and  painting.  The  admirable 
manner  in  which  these  ornamental  and  decorative  accessories  have  been  intro- 
duced is  worthy  of  particular  notice.  With  such  an  ample  and  varied  surface 


Brazen  Salver:  Egyptian  Court. 


to  treat,  a decorator  might  readily  have  fallen  into  the  fault  of  over-ornamen- 
tation, but  this  artist  was  too  well  taught  for  that.  The  judicious  choice  of 
parts  to  be  enriched,  and  the  careful  consideration  of  the  kind  of  enrichment 
suitable,  makes  the  ornamentation  all  the  more  effective.  It  has  been  well  said 


354 


THE  INTERNATIONAL  EXHIBITION,  1876. 


that  the  modern  ornamentist  might  learn  something  of  restraint,  and  be  warned 
against  over-ornamentation,  by  seeing  how  nature  restricts  her  true  ornaments, 
the  flowers,  to  the  most  salient  and  culminating  points  of  plants,  and  sprinkles 
them  sparingly,  contrasted  with  the  foliage.  Over- ornamentation,  and  that 
without  a proper  appreciation  of  the  application  of  ornament  to  the  various 
materials  in  which  the  design  is  intended  to  be  wrought  or  executed,  is  perhaps 
the  greatest  fault  of  all  ornamental  work  of  the  present  time. 

Another  of  the  important  works  of  high  art  manufactured  by  the  Messrs. 
Elkington  & Co.,  OF  Birmingham,  England,  expressly  for  our  Centennial 
Exhibition,  is  illustrated  on  page  351.  It  is  a Plaque  wrought  out  of  silver 
and  steel  by  the  repousse  process — that  is  to  say,  the  whole  of  the  work  in 
relief  is  hammered  up  by  hand  from  the  flat  surface  of  the  metal,  and  is  further 
enriched  with  damascened  tracery  in  gold  and  silver. 

The  subject  of  the  design  for  this  exquisite  work  of  art  is  Bath-Sheba  at 
the  bath.  Bath-Sheba,  the  daughter  of  Eliam,  the  wife  of  Uriah  the  Hittite, 
the  woman  “very  beautiful  to  look  upon,”  whom  David  saw  washing  herself,  as 
he  walked,  at  eventide,  upon  the  roof  of  the  king’s  house  in  Jerusalem.  It  is 
the  work  of  that  eminent  metal-sculptor — the  same  who  designed  the  Helicon 
Vase,  the  Milton  Shield  and  the  Pompeiian  Toilette,  already  illustrated  and 
described  in  these  pages — M.  Morel  Ladeuil.  In  purity  of  conception,  harmony 
of  detail  and  marvelous  delicacy  of  manipulation,  this  plaque  forms  a worthy 
addition  to  the  artist’s  other  works.  We  see  here  the  same  beauty  of  design, 
fulness  of  elaboration  and  mastery  of  technical  execution  that  characterizes  his 
previous  productions. 

If  the  reader  will  give  a careful  consideration  to  the  details  of  this  com- 
position, he  cannot  fail  to  observe  how  perfectly  the  Egyptian  feeling  has  been 
preserved  in  the  minutest  parts.  Even  the  rich  tracery  of  damascened  work 
on  the  rim  of  the  plaque  is  purely  Egyptian.  The  conventionalized  lotus,  the 
winged  globe,  the  frame  to  the  central  group  are  well  known.  Coming  to  the 
episode  represented,  we  see  it  executed  in  a manner  sculpturesque  as  opposed 
to  chromatic,  and  treated  with  classic  purity  and  simplicity.  The  composition 
of  this  design  is  chaste  and  harmonious  to  a degree  unsurpassed  in  a work  of 
this  kind. 

And  when  we  consider  the  technical  execution  we  find  the  same  excellen- 


INDUSTRIAL  ART. 


355 


cies  in  every  part.  In  the  figures  of  Bath-Sheba  and  the  slave,  the  skin-texture 
has  been  wonderfully  well  rendered.  Not  a flaw  can  be  discovered  in  the 


Group  of  Bohemian  Glass  ; f.  L.  Lobmeyr,  Vienna. 


damascening.  In  short,  the  workmanship  is  a perfect  specimen  of  the  highest 
class  of  artistic  labor  in  the  manipulation  of  the  precious  metals. 


356 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 7 6. 


The  Brazen  Salver,  illustrated  on  page  353,  was  exhibited  in  the  Egyptian 
Court  at  the  Centennial,  as  an  example  of  the  excellence  of  the  modern  artistic 
metal-work  of  the  Egyptians.  The  Intricacies  of  the  design  with  which  the 
salver  is  enriched  appears  to  have  been  made  conspicuous  by  the  use  of  niello, 
a kind  of  black  enamel  with  which  the  eno^ravintr  is  covered.  The  enamel 
sinks  into  the  incisions  made  by  the  graver,  and  the  whole  surface  is  then 
rubbed  down  smooth  and  polished.  The  attempt  to  follow  the  lines  of  the 


pattern  through  all 
their  labyrinthine 
windings  Is  bewil- 
dering, yet  it  will 
be  seen  that  the 
desltrn  consists  of 
units  of  ornament 
distributed  and  In- 
terwoven over  the 
surface  with  geo- 
metrical accuracy. 
Indeed,  this  com- 
bination of  geo- 
metrical forms 
with  conventional- 
ized flowers  and 
leaves  and  tendrils 
is  exceedingly  fe- 
licitous and  effect- 


Krug  yug:  Count  Thun,  Austrian  Court. 


ive.  In  all  oriental 
surface  decoration 
where  a reg-ular  re- 
distribution  of  pat- 
terns is  affected,  we 
will  find  a symmet- 
rical arrangement 
in  which  a figure, 
often  extremely 
simple  in  itself,  is 
so  agreeably  inter- 
woven with  geo- 
metric forms  as  to 
give  a rich  and  sat- 
isfactory effect. 

The  group  of 
Bohemian  Glass, 
manufactured  by  J. 
& L.  Lobmevr,  of 


Vienna,  which  we  illustrate  on  page  355,  is  an  excellent  example  of  this  beau- 
tiful ware.  The  Messrs.  Lobmevr  make  a specialty  of  the  manufacture  of  all 
kinds  of  Bohemian  glass,  both  ancient  and  modern,  and  they  are  particularly 
successful  in  reproducing  the  ancient  forms  and  peculiarities  of  workmanship 
that  made  the  ware  famous  as  far  back  as  the  thirteenth  century.  Unlike 
Venice,  where  glass-making  In  all  its  branches  was  an  established  industry 
before  its  introduction  into  Bohemia,  the  latter  state  still  maintains  its  reputa- 
tion tor  producing  fine  and  artistic  glass-ware,  especially  the  ornamental  varieties. 


INDUSTRIAL  ART. 


357 


Our  illustration  represents  a number  of  articles  in  engraved  glass,  a style 
of  enrichment  in  which  the  ancient  Bohemian  glass  workmen  were  so  skilled 
as  to  make  the  fame  of  their  engraved  ware  world-wide.  The  examples  before 
us  show  the  excellence  of  the  modern  workmanship;  the  grace,  purity  and 
lightness  of  the  objects,  and  the  elegance  ot  the  patterns  with  which  they  are 
enriched. 

The  usual  method  of  engraving  on  glass  is  by  the  use  of  a small  copper 
disc,  set  in  a foot-lathe.  This  disc  being  set  in  motion  is  made  to  revolve  with 
great  rapidity  by  the 
foot  of  the  workman, 
who  at  the  same  time 
holds  the  object  to  be 
encrraved  against  the 
edge  of  the  disc,  while 
he  is  guided  in  his  work 
by  the  lines  of  the 
pattern  to  be  worked, 
which  has  been  first 
lightly  traced  upon  the 
surface  of  the  glass. 

Apropos  to  this  sub- 
ject of  glass-engrav- 
ing, mention  may  be 
made  here  of  a very 
not  informed,  however,  whether  this  invention,  known  as  the  Sand-blast,  is 
adapted  to  the  production  of  very  fine  and  delicate  work. 

The  Krug  Jug,  engraved  on  page  356,  was  one  of  the  chefs  d'cetivre  of 
the  exhibit  of  Count  Thun,  of  Bohemia.  From  his  factory  at  Klosterie,  his 
Excellency  sent  a varied  collection  containing  specimens  of  decorated  dinner- 
services,  room-furniture,  jardinieres,  and  miscellaneous  articles  of  use.  The 
ornamental  objects  were  chiefly  made  of  a white  bisquit  resembling  parian, 
though  the  material  was  sometimes  colored  with  a uniform  tint  of  light  blue  or 
pink  or  gray.  The  example  illustrated  by  us  has  a ground  of  the  latter  color, 
the  relief-work  being  painted  in  bright  and  strongly-contrasted  hues.  The  whole 


Crystal  Pitcher : y.  Green  &•  Xephew,  London. 


ingenious  American  in- 
vention by  which  glass 
is  cut  or  engraved  by 
means  of  a jet  of 
sharp  sand  beingblown 
through  a small  orifice 
against  the  surface  of 
the  glass.  By  this  dis- 
covery, which  is  of 
comparatively  recent 
date,  not  only  glass, 
but  the  surface  of  crys- 
tals, of  quartz,  and  even 
of  diamonds,  can  be 
cut  speedily  and  at  a 
trifling  cost.  We  are 


358 


THE  INTERNATIONAL  EXHIBITION,  iSj6. 


has  afterwards  been 
glazed  in  the  kiln. 
On  the  front  face  of 
the  body  of  the  Krug 
is  a shield  bearing 
a coat-of-arms  and 
crest.  This  is  the 
most  conspicuous 
feature  of  the  orna- 
mentation. The  zone 
about  the  neck  of  the 
jug  is  decorated  with 
arabesques  of  a light 
and  graceful  pattern. 
Beneath  this  is  a band 
decorated  with  a 
scroll-work  of  leaves 
and  flowers.  The 
central  zone  contains 
grotesques,  animals 
with  griffins’  heads 
and  bodies  coiling  off 
into  plant  - shapes. 
At  the  mouth  of  the 
vessel,  and  also  at  the 
base  of  the  handle, 
masks  executed  in 
relief  are  placed  as 
ornaments.  The  one 
at  the  vessel’s  mouth 
is  a female  face  of 
considerable  beauty  ; 
the  other  is  the  face 
of  a satyr.  In  shape 


Stained  Glass  Window : ll  '.  //.  Constable^  England. 


and  in  the  general 
style  of  the  ornamen- 
tation this  Krug 
bears  a close  resem- 
blance to  antique 
models. 

The  proficiency  ot 
Encrlish  workmen  in 
ornamental  glass- 
makinor  is  illustrated 

o 

by  our  engraving  on 
page  357.  This  rep- 
resents a Crystal 
Pitcher,  manufac- 
tured by  Messrs.  J. 
Green  & Nephew, 
OF  London,  engraved 
and  otherwise  deco- 
rated in  a manner 
befitting  an  object 
intended  more  for 
ornament  than  use. 
The  handle  of  the 
vessel  appears  to 
be  that  peculiar  ar- 
rangement of  colored 
glasses  known  as  fili- 
gree-work. The  neck 

o 

and  upper  portion 
are  enameled  and 
gilded,  and  a small 
panel  in  the  narrow- 
est part  of  the  neck 
contains  a group  of 


INDUSTRIAL  ART. 


359 


horsemen.  The  lower 
portion  of  the  vessel 
is  of  pure  crystal,  and 
on  this  clear,  trans- 
parent surface  the 
spirited  group  of  St. 
George  and  the 
Dragon  is  engraved 
in  a highly  artistic 
manner.  The  group 
is  surrounded  by  a 
wreath  of  oak-leaves, 
and  a laurel  wreath 
encircles  the  base  of 
the  vessel.  The  work- 
manship displayed  in 
the  manufacture  of 
this  pitcher,  and  the 
technical  excellence 
with  which  the  orna- 
mental designs  have 
been  rendered,  are  in 
every  way  creditable 
and  satisfactory.  For 
some  time  England, 
encouraged  by  the 
success  of  her  com- 
petition with  Europe 
in  the  production  of 
artistic  pottery,  has 
been  devoting  atten- 
tion to  the  sister  art 
of  ornamental  glass- 
makine,  and  we  have 


Stained  Glass  Window:  W.  //.  Constable,  England. 


in  the  example  before 
us  satisfactory  evi- 
dence of  the  progress 
made  in  this  direc- 
tion. 

On  pages  358  and 
359  we  illustrate  ex- 
amples of  Glass- 
Painting,  manufac- 
tured by  W.  H.  Con- 
stable, OF  London. 
They  are  intended 
for  use  in  church- 
windows,  and  there- 
fore the  subjects 
treated  are  of  a sa- 
cred character,  being 
episodes  in  the  life 
of  our  Lord.  While 
each  design  forms  a 
piece  perfect  in  itself, 
the  details  and  color- 
treatment  of  the  sev- 
eral parts  are  the 
same  in  both,  and 
make  them  suitable 
for  use  as  a pair.  In 
the  first  window  we 
have  the  story  of  the 
Box  of  Precious  Oint- 
ment pictorially  ren- 
dered, and  beneath  it 
a rosette  and  angel, 
with  the  legend  de- 


360 


THE  INTERNATIONAL  EXHIBITION,  1876. 


scriptive  of  the  story,  “She  hath  chosen  that  good  part.”  In  the  second  window 
our  Lord  is  represented  delivering  the  keys  unto  Peter,  and  below  is  the  text, 
“Jesus  saith  unto  him  : Feed  my  sheep.”  The  purely  decorative  enrichment  in 
the  two  win- 
dows is  Gothic 
in  its  character. 


This  style  of 
ornamentation 
has  almost  be- 
come tradition- 
al, owing  to  the 
intimate  con- 
nection be- 
tween the  art 
of  glass-paint- 
ing and  the 
progress  of 
Gothic  architec- 
ture. But  in 
these  modern 
examples  we 
have  a pictorial 
renderinof  of  a 
subiect  alto- 
gether un- 
known to  an-  ^ / 

dent  e.xamples 
of  the  art.  Sym- 
holism  was  pri- 
marily  the  ob- 
jectof  theartist, 

find  the  literature  ot  glass-painting  very  voluminous  and  full. 


whose  works 
are  character- 
ized by  a monu- 
mental simplici- 
ty. The  new 
school  of  picto- 
rial art  in  con- 
nection with 
glass-painting  is 
principally  prac- 
tised at  Munich, 
where  many  su- 
perb  works 
have  been  con- 
structed. Both 
schools  have 
their  advocates, 
and  as  there  is 
much  to  be  said 
in  favor  of  both, 
we  shall  not  en- 
ter into  a dis- 
cussion of  the 
merits  of  either 
in  this  place. 
The  reader  who 
is  interested  in 
the  subject  will 
It  is  one  of  the 


arts  that  from  having  been  regarded  as  lost  has  been  revived  and  brought  to 


a greater  state  of  perfection,  as  far  as  technique  is  concerned,  than  ever  before. 


INDUSTRIAL  ART. 


361 


Carved  Mirror-Frame : Italian  Court. 


362 


THE  INTERNATIONAL  EXHIBITION,  1876. 


A short  description  of  the  process  employed  in  making  a stained  glass 
window  may  interest  those  who  do  not  desire  to  investigate  the  subject 
further. 

From  the  colored  study  of  the  design  a full-sized  cartoon  is  drawn  upon 
paper,  with  the  addition  of  the  lines  in  which  the  several  pieces  of  glass  are 
to  be  cut.  Glass  of  the  requisite  colors  having  been  prepared  by  a process  of 


Bohemian  Glass-ware ; Austrian  Court. 


staining  or  melting  the  coloring  matter  Into  the  material,  separate  pieces  are 
laid,  one  at  a time,  on  the  cartoon,  and  cut  with  a diamond  to  the  lines  seen 
through  the  surface.  The  several  pieces  of  plain  colored  glass  are  then  put 
together  on  the  cartoon,  and  the  design  traced  upon  them  with  a vitrifiable 
substance  that  becomes  dark  when  heated  in  the  oven.  The  shadows  are  painted 
in  the  same  way,  and  then  all  the  pieces  are  joined  together  by  strips  of 
grooved  lead  fitted  around  the  edges  of  each  piece.  In  some  designs  the  glass 
is  cut  into  geometric  figures  independent  of  the  design,  but  the  manner  most 


INDUSTRIAL  ART. 


363 


generally  preferred  is  that  above  described,  where  the  lead-joints  and  the  out- 
lines of  the  design  harmonize  as  much  as  possible. 

On  page  360  we  engrave  a couple  of  Cairngorm  Brooches,  from  a col- 
lection of  objects  of  the  same  character  exhibited  in  the  English  Court.  These 
unique  and  pleasing  ornaments  are  made  from  Scotch  pebbles,  carved  and 
chased  in  the  manner  seen  in  our  illustration,  and  mounted  in  silver.  'I'hey 
are  made  in  a variety  of  shapes,  but  the  style  and  the  character  of  the  orna- 
mentation plainly  suggests  their  origin. 


Lace  Shawl:  French  Collective  Exhibit. 


The  wood-carving  of  Italy,  famous  in  olden  times  as  among  the  most 
beautiful  examples  of  the  art,  is  again  attracting  the  attention  of  every  one 
interested  in  the  subject  by  the  earnest  efforts  on  the  part  of  several  Italian 
artists  of  note  to  revive  the  taste  of  the  people  in  this  regard,  and  to  stimu- 
late native  talent  to  bring  back  to  their  country  its  ancient  renown.  The  Italian 
Court  at  the  Centennial  Exhibition  contained  numerous  examples  of  modern 
wood-carving,  some  in  imitation  of  the  style  of  the  Renaissance,  others  fashioned 
after  more  ancient  models,  and  more  exemplifying  the  originality  of  the  artist 


364 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Lintramnieled  by  the  methods  of  any  particular  school.  Our  readers  are  already 
familiar  with  several  of  the  most  noteworthy  of  these  works,  which  have  been 
illustrated  and  described  at  length  in  these  pages,  from  which  an  excellent  idea 
of  the  progress  already  made  in  the  direction  aimed  at  can  be  had.  Of  these 
the  greater  number  have  been  examples  of  artistic  carving  of  scroll-work,  a 


Silver  Plaque : Etkington  Co.,  Birmingham,  England. 


graceful  interweaving  of  vines,  conventionalized  figures  obtained  from  the  study 
of  the  growth  of  plants,  grotesque  and  natural  rendering  of  birds  and  animals, 
and  in  one  instance,  a minutely  exact  copy  of  a famous  ruin.  Now,  as  an 
addition  to  this  group,  we  engrave  on  page  361  a Mirror-Frame,  in  which 
the  artist  has  essayed  the  highest  range  of  sculpture,  the  study  of  the  human 
figure. 

The  Mirror-Frame  consists  of  two  parts — the  ground-work  for  the  orna- 


INDUSTRIAL  ART. 


365 


mentation  and  the  ornamentation  itself.  The  ground-work  or  back  consists  of 
an  oval  of  plain,  dark  wood,  about  three  feet  in  its  longest  diameter,  sur- 
rounded on  the  outer  and  inner  edges  with  a delicately  carved  raised  moulding 
of  some  light-colored  wood.  Poised  upon  the  upper  part  of  this  moulding,  and 
clambering  up  the  sides  of  the  frame,  is  a string  of  little  winged  cupids. 


Silver  Plaque : Elkington  df”  Co.,  Birmingham,  England. 


With  clasped  hands  and  dancing  feet,  these  little  fellows  disport  themselves, 
balancing  on  perilous  places  and  in  postures  such  as  only  winged  cupids  can 
venture.  The  garland  of  ribbon  with  which  each  little  figure  is  provided  floats 
about  him  in  his  play,  giving  emphasis  to  the  airy  lightness  of  the  movements 
of  the  party.  There  are  nine  of  these  figures,  yet  it  would  be  difificult  to 
choose  between  them  in  point  of  merit;  nor,  where  the  general  effect  of  the 
whole  group  is  so  harmonious,  so  graceful  and  so  charmingly  balanced,  would 


366 


THE  INTERNATIONAL  EXHIBITION,  1876. 


it  be  worth  while  to  institute  a comparison  between  its  several  members.  At 
the  base  of  the  frame  is  a female  bust,  the  breast  and  shoulders  draped,  the 
head  upraised  and  crowned  with  a garland  of  flowers.  Her  hair,  unconfined, 
sweeps  back  from  her  forehead  in  wavy  masses,  as  if  blown  by  the  wind,  and 
the  upturned  face  wears  an  expression  of  pleased  attention,  as  if  listening  to 
the  happy  voices  of  the  little  beings  around  her.  Two  of  these  have  impris- 
oned her  in  their  garlands,  and  with  feet  resting  upon  her  shoulders,  reach  up 
and  clasp  the  hands  of  their  mates  above  them.  In  this  way  the  connection 
of  all  the  parts  of  the  design  is  established,  rounding  and  perfecting  the  whole. 
The  bold,  free  carving  of  the  figures  in  this  group,  and  the  additional  relief 
given  them  against  the  dark  wood  of  the  background,  makes  the  design  singu- 
larly effective,  and  the  whole  work  a most  agreeable  ornament. 

In  the  three  specimens  of  Bohemian  Glass-ware  engraved  on  page  362, 
we  have  examples  of  several  of  the  various  kinds  of  decoration  with  which 
glass  can  be  enriched.  We  have  here,  chasing  or  engraving,  cutting,  enameling 
in  color,  gilding,  and  the  process  of  cutting  through  a colored  enamel  surface 
to  the  crystal  beneath.  In  the  middle  tazza  of  the  group,  the  centre  of  the 
piece  is  made  of  the  clearest  crystal,  while  the  rim  is  of  enameled  red  glass. 
On  the  interior  edge  is  a cord  of  twisted  glass  of  the  same  color,  enriched 
with  gilding.  An  engraved  pattern,  representing  swans,  lilies  and  water-rushes, 
grouped  between  shell  medallions,  decorates  the  rim.  The  depth  and  shallow- 
ness of  the  cutting  give  light  and  shade  to  the  design,  and  roundness  to  the 
figures.  The  dish  on  the  left  hand  of  the  trio  is  a beautiful  piece  of  work, 
admirably  cut  and  decorated  in  a highly  artistic  manner.  The  third  piece  is 
more  elaborately  enriched  than  the  others,  and  would  make  a charming 
ornament  suspended  from  the  wall  of  an  apartment,  or  placed  among  the 
bric-a-brac  on  the  shelves  of  a cabinet.  The  well-known  group  which  has  been 
engraved  as  the  central  ornament  of  the  dish  is  framed  by  a pattern  of  vine- 
leaves  and  berries,  separated  by  scrolls  and  grotesque  masks.  A rope  border 
surrounds  the  whole.  In  each  of  these  examples  the  cutting  has  been  done 
from  beneath,  so  that  the  upper  surface  is  smooth  and  polished  to  the  touch. 

The  French  Collective  Exhibit  of  Lace  furnishes  us  with  the  subject  of  our 
illustration  on  page  363.  This  delicate  piece  of  workmanship,  one  of  the  most 
beautiful  of  the  many  examples  of  French  skill  in  this  branch  of  manufacture. 


INDUSTRIAL  ART. 


367 


though  so  elaborately  wrought,  can  be  crushed  together  in  the  hand  and  drawn 
through  the  compass  of  a ring.  The  design  consists  of  the  central  pattern,  a 
graceful  arrangement  of  ferns  and  flowers  and  grasses  in  studied  confusion,  and 
a border  of  scrolls  sweeping  in  full,  broad  curves  around  the  pattern  in  the 
centre,  and  at  the  lower  angle  of  the  shawl  falling  the  one  over  the  other  in 
imitation  of  separate  folds  of  lace.  There  is  a suggestion  of  oriental  richness 
in  the  arrangement  of  these  curves,  which  is  appropriate  and  extremely  attractive 
in  a design  of  this  kind. 


Carpet : Spanish  Court. 


From  the  almost  inexhaustibly  rich  collection  of  ornamental  metal-work 
exhibited  by  the  Messrs.  Elkington,  of  Birmingham.  England,  we  select  the 
pair  of  Silver  Plaques  illustrated  on  pages  364  and  365.  Like  all  the  other 
examples  of  ornamental  work  in  the  precious  metals  by  this  firm  which  we 
have  placed  before  our  readers  in  these  pages,  the  principal  part  of  the  orna- 
mentation is  executed  by  the  repousse  or  hammering-up  process,  although  it 
seems  almost  impossible  to  believe  that  anything  so  fine  and  delicate  as  the 
lines  of  the  groups  of  figures  in  these  plaques  have  been  produced  from  a flat 
metal  surface  by  repeated  blows  with  the  hammer. 

In  the  Plaque  first  illustrated  we  have  a group  of  female  figures,  floating. 


368 


THE  INTERNATIONAL  EXHIBITION,  1876. 


like  storm-wraiths,  out  over  a desolate  shore  to  a wind-tossed  sea.  It  may  be 
that  they  are  powers  of  the  air,  or  the  Graces,  conveying  Venus  through  the 
clouds ; but  whatever  the  subject  of  the  design  is,  the  figures  are  charmingly 
grouped,  forming  a most  graceful  ensemble.  About  the  margin  is  wrought,  in 
the  same  repousse  process,  a scroll  pattern  of  leaves  and  flowers,  with  here  and 
there  a cupid,  a bird,  a beast  of  the  forest,  or  a Psyche. 

In  the  second  Plaque  the  artist  has  depicted  a sylvan  scene — a group  of 
satyrs,  young  and  old,  on  a glade  of  the  forest,  playing  upon  pipes  and  cymbals, 


Communion  Vessels:  Poussielgite-Rtisami,  Ports. 


and  a wood-nymph  dancing  to  the  music.  The  same  excellent  skill  displayed 
in  the  composition  of  the  former  design  is  seen  in  this  piece.  It  is  a scene 
of  joyous  revelry  and  free  abandonment  to  the  pleasure  of  the  moment.  As 
a setting  to  this  scene,  the  border  is  enriched  with  a satyric  mask  and  a leafy 
scroll  of  branches,  in  which  infant  satyrs  swing  and  hide  and  chase  one  another. 

The  oriental  richness  of  design  and  the  arabesque  forms  which  we  asso- 
ciate with  Spanish  decoration  are  entirely  absent  from  the  pattern  of  the 
Spanish  Carpet  illustrated  on  page  367.  The  bouquet  of  flowers  held  together 
by  a ribbon,  the  latter  floating  off  and  interwoven  with  garlands  of  roses,  which 
form  frames  for  a repetition  of  the  same  design  over  the  surface  of  the  fabric, 


INDUSTRIAL  ART. 


369 


suggest  a preference 
for  and  study  of  French 
fashions  rather  than  an 
appreciation  of  the  ad- 
mirable patterns  for 
decorating  such  mate- 
rial as  this,  to  be  found 
in  the  Moorish  ara- 
besques and  scroll- 
work. But  by  examin- 
inor  the  flowers  and  the 

o 

way  they  are  represent- 
ed, we  can  detect  a dif- 
ference in  the  decora- 
tive treatment  from  that 
of  similar  designs  of 
French  manufacture.  In 
the  first  place,  the  flow- 
ers copied  mostly  are 
different  from  those 
seen  in  the  carpets  of 
other  countries ; but 
secondly  — and  this 
makes  a distinctive  dif- 
ference in  style — these 
flowers,  though  copied 
with  sufficient  accuracy 
to  be  recognized,  are 
not  imitated  as  exactly 
as  may  be,  but  treated 
in  broad  masses  of 
color,  with  strong  shad- 
of  the  nation  and  the  importance 
there  were  several  displays  made 


ows  and  well-defined 
outlines.  There  is  no 
minute  veining  or  gra- 
dations of  tint — in  other 
words,  that  attempt  at 
pictorial  effect  which 
makes  some  carpets  of 
France,  and  indeed  of 
other  countries  as  well, 
almost  as  valuable  as  a 
chromo,  in  an  artistic 
way.  In  the  important 
particular  of  having  the 
border,  which  forms  a 
frame  to  the  principal 
designs,  run  gracefully 
and  unobtrusively  in 
and  about  the  central 
patterns,  harmonizing 
and  connecting  the 
whole  design,  the  de- 
signer of  this  carpet 
has  shown  skill  and 
excellent  taste. 

Although  the  French 
exhibit  of  fine  metal- 
work, especially  bronze, 
was  disappointing  in 
that  it  was  neither  so 
large  nor  so  rich  in 
works  of  a high  class 
of  art  as  the  reputation 
of  the  industry  would  lead  one  to  expect, 
by  individual  manufacturers  that  contained 


Candelabra  : Hart  6^  Son.  London. 


370 


THE  INTERNATIONAL  E X H I B I TI 0 N,  1 8 7 6. 


much  that  was  choice  and  beautiful.  Such,  for  example,  was  the  collection  of 
fine  metal-work  exhibited  by  M.  Poussielgue-Rusand,  of  Paris,  from  which  we 


have  selected  the  Communion  Vessels,  illustrated  on  page  368,  as  examples. 
These  vessels  are  made  of  fire-gilt  metal,  chased,  enameled  and  enriched  with 


INDUSTRIAL  ART. 


371 


jewels,  so  that  they  are  very  rich  and  brilliant  in  appearance.  The  manufac- 
ture of  ecclesiastical  vessels  and  church  metal-work  of  various  kinds  is  a specialty 
with  M.  Poussielgue-Rusand,  and  there  were  reproductions  of  several  antique 
pieces  in  his  collection.  The  Chalice,  seen  on  the  left  of  the  group  in  our 


Ornamental  Tiles:  Brown,  IVesthead,  Moore  Co.,  Staffordshire,  England. 


engraving,  though  possibly  not  a reproduction,  resembles  similar  vessels  used 
in  the  fourteenth  century.  The  broad  plain  bowl,  the  cruciform  knob,  enriched 
with  jewels,  the  enameled  stem  and  foot  with  medallion  figures  in  relief,  all  are 
characteristic  of  that  time.  The  other  Chalice,  much  more  elaborately  enriched, 
is  quite  modern  in  its  decoration,  though  the  shape  is  antique.  The  enrich- 


372 


THE  INTERNATIONAL  EXHIBITION,  i8j6. 


ment  of  the  bowl  is  never  seen  in  ancient  chalices.  The  flagon  has  an  old- 
time  severity  of  outline,  with  modern  styles  of  ornamentation.  But  it  is 
noteworthy  that  ecclesiastical  vessels,  as  a rule,  have  yielded  less  to  the 
universal  desire  for  change  and  novelty  in  style  than  any  other  kind  of  metal- 
work. Traditional  forms  have  been  handed  down  to  us  and  copied  extensively. 


Screen  : Royal  School  of  Art  Needle-work. 


and  the  most  marked  yielding  to  fashion  has  been  the  excessive  enrichments 
of  the  vessels  with  enamels  and  precious  stones.  But  the  present  art-revival 
which  is  perceptible  throughout  Europe  is  having  its  effect  here  as  elsewhere 
in  a tendency  to  go  back  again  to  the  simplicity  and  severity  of  mediaeval 
models. 

On  page  369  we  engrave  an  illustration  of  a Candelabra,  made  entirely 
of  wrought  metal,  which  was  exhibited  by  Messrs.  Hart  & Son,  of  London. 


INDUSTRIAL  ART. 


373 


The  design  for 
this  fine  piece 
of  work  is 
very  light  and 
graceful  and 
excellent  in 
outline.  The 
stem  is  sup- 
ported by  four 
rods  sloping 
outward  to  a 
broad  ring  at 
the  base,  to 
which  they  are 
attached.  The 
upper  ends  of 
these  rods  are 
curved  around 
like  tendrils, 
terminating  in 
three  leaves. 

The  same  leaf- 
pattern  is  in- 
troduced into 
the  space  be- 
tween the  rods 
and  stem,  serv- 
ing the  double 
purpose  of  an 
ornamental  fin- 
ish and  a brace 
to  the  several 

readers  as  representing  the  Music  and  Poetry  Vase,  exhibited 
Elkington  & Co.,  OF  Birmingham,  England.  The  vase  is  of 


parts.  The  up- 
per part  of  the 
Candelabra  is 
more  highly 
ornamented 
than  the  lower, 
but  a variation 
of  the  same 
leaf-pattern 
furnishes  the 
enrichment. 
There  are  two 
rings,  of  four 
lights  each, the 
smaller  above 
the  larger, 
each  support- 
ed by  brackets 
fastened  to  the 
stem,  which 
ends  in  a single 
light  raised  a 
proportionate 
distance  above 
the  others. 

The  central 
figure  of  the 
group  illus- 
trated on  page 
370  will  berec- 
o g n i z e d by 
many  of  our 
by  the  Messrs. 
silver,  decorated 


374 


THE  INTERNATIONAL  EXHIBITION,  1876. 


with  repousse  - work, 
executed  in  such  low 
relief  as  not  to  inter- 
fere with  the  classic 
outline  of  the  vase 
itself.  The  figure  on 
this  side  represents 


the  muse  of  Poetry, 
a charmingly  graceful 
figure,  admirably  exe- 
cuted. On  the  oppo- 
site side  of  the  vase 
is  the  muse  of  Music, 
conceived  in  the  same 


Necklaces,  Cameos  and  Drops  : M.  Cerardine,  Milan. 


classic  style.  Between  these  figures,  under  the  handles  of  the  vase,  are  winged 
geni,  holding  laurel  and  palm  branches  in  their  hands.  Around  the  upper 


INDUSTRIAL  ART. 


375 


portion  of  the  bowl  and  also  around  the  neck  of  the  vase  are  narrow  bands 
decorated  with  vine-leaves  and  acorns.  The  workmanship  in  this  fine  work  is 
quite  equal  to  the  beauty  and  elegance  of  the  design. 

On  either  side  of  this  vase  are  crystal  and  bronze  Flower  Stands,  from 
the  Austrian  Court.  Both  are  admirable  works,  remarkable  for  the  beautiful 


engraved  decoration  on 
the  glass.  The  stands, 
also,  are  worthy  of  note 
for  the  excellence  of 
their  design.  The  spir- 
ited drawing  of  the 
dracrons  in  the  one  on 

o 

the  right  of  the  group 
is  particularly  fine. 


yewel  Casket : Austrian  Court. 


The  numerous  uses 
to  which  Ornamental 
Tiles  can  be  put  has 
stimulated  their  manu- 
facture by  the  leading 
English  potteries  to  a 
' wonderful  degree.  Al- 
most every  conceivable 
design  is  executed  in 


yewelry : Russian  Cou>t. 


these  little  squares,  from  an  elaborate  subject  treated  pictorially  to  a simple 
geometric  pattern.  Many  of  these  tiles  are  so  skillfully  and  artistically  painted 
as  to  be  veritable  works  of  art,  and  as  such  we  may  class  the  examples 
illustrated  by  us  on  page  371,  from  the  exhibit  of  Messrs.  Brown,  Westhead 
& Moore,  of  Staffordshire,  England. 

The  first  and  second  series  of  tiles  shown  make  each  a connected  picture,  but 
the  third  series,  though  complete  as  a set  of  four,  symbolizing  the  elements. 


376 


THE  INTERNATIONAL  EXHIBITION,  1876. 


can  be  arranged  in  any  order  or  used  separately  for  decorative  purposes. 
A single  choice  tile,  framed  and  hung  upon  the  wall,  makes  a capital  ornament 
to  a room,  and  a series,  arranged  as  a frieze  in  a cabinet  or  other  piece  of 
furniture,  is  always  effective.  For  chimney  decoration  tiles  have  always  been 
considered  the  correct  thing,  and  latterly,  since  it  has  become  the  fashion  to 
have  them  decorated  by  experienced  artists,  they  are  in  demand  for  jar- 


dinieres, many  kinds  of  fancy  boxes,  and  as  plaques  for  vessels  in  use  on  the 
table. 

On  page  372  we  engrave  one  of  the  most  admired  specimens  in  the  exhibit 
of  the  Royal  School  of  Art  Needle-work,  which  was  sent  from  London  and 
arranged  in  a pavilion  erected  for  the  purpose  in  the  English  Court  in  the 
Main  Building.  Unfortunately  the  pavilion  was  not  large  enough  to  display  all 
the  beautiful  things  in  the  collection,  and  a portion  of  them  had  to  be  placed 
on  separate  view  in  the  building  known  as  the  Women’s  Pavilion,  while  others 
were  not  even  unpacked. 


INDUSTRIAL  ART. 


377 


The  Screen  which  we  illustrate  on  page  372  was  one  of  several  designed 
and  embroidered  by  Miss  Gremmell,  one  of  the  pupils  of  the  School.  The 
ground  on  which  the  design  is  embroidered  is  Musgrave  satin,  against  which 
the  colors  in  the  work  are  excellently  contrasted.  The  amount  of  labor 
expended  in  this  design  must  have  been  very  great,  as  in  parts  of  it — for 
example,  in  the  plumage  of  the  birds — the  shading  and  gradations  of  color 


Carpets : French  Court. 


require  minute  stitches.  The  screen  is  mounted  in  three  leaves,  and  framed  in 
ebony  ornamented  with  carved  panels.  It  is  an  admirable  example  of  the 
progress  made  by  the  institution,  in  the  brief  time  of  its  existence,  in  instructing 
women  in  the  art  of  design  and  artistic  needle-work. 

It  has  been  well  said  that  the  characteristics  of  lightness  and  filminess  of 
the  texture  should  never  be  forgotten  in  the  ornamentation  of  lace,  which  should 


378 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Card- Receivers,  Candlestick  and  two  Jardinieres  : M.  Jules  Houry,  Paris. 

are  required  to  pervade  its  ornamentation.  In  the  appreciation  of  this  law  and 
in  applying  it  to  their  designs,  the  French  are  particularly  happy.  Beauty  of 


be  essentially  light,  elegant  and  flowing;  all  straight  lines  should  be  avoided, 
not  only  trom  the  necessities  of  the  manufacture,  but  because  graceful  forms 


IN D US  TRIAL  A R T. 


379 


Group  of  China : Brown,  Westhead,  Moore  &=  Co.,  Staffordshire. 


380 


THE  INTERNATIONAL  EXHIBITION;  1876. 


outline  and  delicacy  of  design,  with  graceful  curves  blending  into  the  more 
elaborate  figures,  makes  their  work  elegant  and  attractive. 

On  page  373  we  illustrate  a Lace  Curtain,  a superb  example  of  French 
lace  manufacture  exhibited  by  the  Maison  Blanc,  of  Paris.  Here  the  beauty 
of  the  curved  lines,  so  disposed  as  to  give  extreme  richness  of  outline  with 
lightness,  is  seen  to  fine  advantage.  The  balance  of  the  design  has  been  well 
sustained,  and  a sumptuous  degree  of  ornament  is  obtained  without  any  effect 
of  crowding.  But  it  must  always  be  remembered  that  a curtain  ornamented  in 
this  manner,  with  a design  which  must  be  viewed  in  its  entirety  to  be  duly 
appreciated,  should  not  be  hung  in  folds.  The  designer  has  made  his  pattern 
for  a broad  flat  surface,  and  the  curtain  should  hang  in  that  way. 

The  group  of  jewelry  on  page  374  includes  two  examples  of  Necklaces 
exhibited  by  M.  Gerardine,  of  Milan,  and  a trio  of  Brooches  and  Ear-rings 
from  the  establishment  of  M.  Krumbugl,  of  St.  Petersburg.  The  Milanese 
jewelry  is  ornamented  with  cameos  and  engraved  gems  artistically  mounted 
and  hung  at  intervals  on  the  chain.  No  more  beautiful  ornament  can  be  desired 
by  a person  of  refined  and  aesthetic  taste  than  a finely  engraved  gem.  Among 
the  ancients,  jewels  of  this  kind  were  held  in  the  highest  esteem,  and  the  vast 
abundance  in  which  they  are  found,  even  at  this  late  day,  shows  how  univer- 
sally they  were  esteemed  and  worn  by  the  Greeks  and  Romans.  Nor  can  we 
at  the  present  day,  with  all  our  modern  appliances  and  discoveries,  approach 
the  ancient  engravers  in  the  beauty  and  perfectness  and  finish  of  their  gem- 
engraving, and  their  work  probably  will  be  always  studied  with  admiration  and 
wonder.  There  is  perhaps  no  study  more  fascinating  or  capable  of  yielding 
more  pleasure  to  the  amateur  than  the  study  of  the  glyptic  art.  By  this  study, 
Flaxman,  Wedgwood  and  Stodhard  in  the  last  century  opened  a new  field  to 
English  ornamentists,  and  brought  one  of  the  industrial  arts  to  a perfectness 
that  has  not  been  excelled  in  these  times. 

The  Russian  jewelry,  here  illustrated,  is  noteworthy  for  the  splendor  of  its 
jewels,  the  rich  red  of  its  gold,  and  the  brilliant  contrasts  of  color  in  its 
enamels.  There  is  always,  also,  something  noteworthy  in  the  design  of  the 
objects  themselves,  an  oriental  richness  of  ornamentation,  as  in  the  middle 
brooch  of  this  group,  or  a grotesque  turn,  as  in  the  double  cocks  in  the  brooch 
on  the  left  hand. 


IND  U ST  RIAL 


ART. 


381 


Tiles  and  China  Plates  and  Vase;  Brown,  Westhead,  Moore  <&^  Co.,  Staffordshire. 


THE  INTERNATIONAL  E X H I B I T I O N,  1 8 7 6. 


382  ■ 


On  page  375  are  several  other  examples  of  Russian  jewelry,  chiefly 
Bracelets,  which  are  admirable  examples  of  workmanship  of  the  highest 


artistic  and  tech- 
nical excellence. 
The  finely  con- 
ventional ized 
vine  and  flower 
pattern  with 
which  one  of 
these  bracelets 
is  ornamented  in 
colored  enamels 
is  a model  in  its 
way.  Here  the 
natural  lines  of 
the  growth  of 
the  plant  have 
been  convention- 
alized so  as  to 
give  us  a floral 
form  as  artistic 
and  beautiful  as 
a mere  imitation 
of  the  plant  itself 
would  have  been 
inartistic  and 
mean.  Attention 
also  may  be  di- 
rected to  the  two 
patterns  in  scroll- 
work and  ara- 
besques, which 


Carpet:  Tomkinson  Adam,  Kidderminster,  England. 


are  singularly 
agreeable,  giving 
evidence  of  a 
skill  in  orna- 
mental desiorninof 
of  a very  high 
order  of  excel- 
lence. 

In  this  group 
we  have  illus- 
trated a Jewel 
Casket,  wrought 
in  silver,  which 
was  exhibited  in 
the  Austrian 
Court.  The  pat- 
tern of  flowers 
and  leaves  inter- 
woven into  as 
intricate  a net- 
work as  nature 
herself  weaves,  is 
executed  in  hig-h 
relief  and  with 
much  elabora- 
tion. 

The  examples 
of  Furniture 
Silks  on  page 


376  are  from  the 

collection  of  textiles  displayed  in  the  Russian  Court  at  the  Centennial.  The 
pattern  with  which  the  fabric  is  enriched  resembles  the  styles  made  popular  in 


IND  U ST RI AL  ART. 


383 


France  a number  of  years  ago,  and  which  have  rarely  been  equaled  in  beauty 
of  detail  and  richness  of  effect.  There  is,  however,  in  these  designs,  less 
elaboration  and  delicacy  of  outline  than  in  the  French  work,  while  the  colors 
are  more  strongly  contrasted  and  more  broadly  massed. 

The  French  taste  in  the  decoration  of  certain  textiles  is  well  shown  in 
our  illustration,  on  page  377,  of  two  specimens  of  Carpet,  which  were  on  view 
in  the  French  Court.  They  are  remarkable  examples  ol  art  applied  to  the 


Iron  Grate : Steel  er*  Garland,  Sheffield. 


industry,  and  in  this  particular  style  of  decoration  they  are  about  as  perfect  in 
design  and  execution  as  it  is  possible  to  achieve.  In  the  carpet  on  the  left  we 
have  a design  in  which  the  artist  has  striven  to  reproduce  a bunch  of  flowers 
and  grasses,  arranged  with  studied  negligence,  as  nearly  in  imitation  of  nature 
as  is  possible  with  the  material  at  his  command.  Regarded  simply  as  a pic- 
torial design  or  a careful  study  of  nature, ’the  work  is  very  well  done,  and  such 
a perfect  reproduction  of  the  pattern  in  the  textile  is  a remarkable  triumph  of 
mechanical  skill.  These  bouquets  of  flowers  are  dispersed  at  intervals  on  the 
carpet,  and  connected  by  delicate  garlands  of  flowers  strewn  in  irregular  lines 
over  the  surface.  Bees,  dragon-flies  and  birds  are  dotted  down  here  and  there 


384 


THE  INTERNATIONAL  EXHIBITION,  1876. 


between  the  flower-garlands  in  a way  to  disguise  the  repeats  of  the  pattern  as 
much  as  possible. 

The  second  design  is  conceived  in  the  same  spirit  as  the  above,  but  with 
rather  more  of  a geometric  arrangement  of  the  several  parts  of  the  pattern. 
Several  bouquets  of  flowers,  having  the  same  general  form,  but  differing 
slightly  in  detail,  are  disposed  over  the  surface  of  the  carpet  at  regular  inter- 


Glass  Plaque:  M.  Lobmeyr,  Vienna. 


vals,  and  connected  together  by  a running  vine,  woven  in  and  out  between  the 
other  figures. 

From  the  display  of  artistic  pottery,  bronzes,  fancy  furniture,  etc.,  made 
by  M.  Jules  Houry,  of  Paris,  we  select  the  group  of  objects  illustrated  on 
page  378.  M.  Houry,  beside  being  a manufacturer,  is  also  an  agent  for  objets 
d'art  and  fantaisie,  and  his  stall  therefore  contained  a collection  of  ornaments 
and  articles  of  furniture  of  the  most  varied  description.  M.  Houry,  however, 
makes  a specialty  of  porcelain  plaques  of  a novel  description,  for  mounting  in 
etageres,  jardinieres,  etc.  These  plaques  have  figures  and  arabesque  patterns 
modeled  in  very  low  relief,  over  which  a transparent  blue  glaze  is  floated  before 


INDUSTRIAL  ART. 


385 


Ornamental  Tile  Mantlepiece : Minton,  Hollis  6^  Co.,  London, 


386 


THE  INTERNATIONAL  EXHIBITION,  i8j6. 


the  second  firing.  The  efifect  is  to  produce  an  even  surface,  under  which  the 
ornamentation  is  seen  in  shades  of  color  varying  with  the  thickness  of  the 
glaze.  An  example  of  this  kind  in  the  group  before  us  is  the  oblong  plaque 
with  rabbits,  grotesquely  shaped  birds  and  scrolls. 

Below  this  plaque  is  a jardiniere,  made  of  faience,  with  masks  and  fanciful 
figures  painted  upon  the  surface  in  colors,  mostly  green,  blue,  brown,  and  yellow, 
like  in  the  faience  of  Gien. 

The  remaining  objects  in  the  group  are  bronzes,  executed  with  that  deli- 


Turkish  Green  Crockery:  Turkish  Court. 


cacy  of  workmanship  and  finish  for  which  the  French  are  celebrated.  Three 
different  styles  of  work  are  shown  here ; as  elegant  as  any,  perhaps,  being  the 
one  most  simple  in  design  and  ornament. 

The  famous  Staffordshire  potteries,  as  represented  by  Messrs.  Brown, 
Westhead,  Moore  & Co.,  of  Staffordshire,  furnish  the  Group  of  Pottery 
represented  on  page  379.  Here  are  several  beautiful  designs  for  jardinieres, 
fruit-  and  card-baskets,  a cup  of  a novel  shape,  another  decorated  d la  Rtisse, 
a line  of  tiles  which  this  firm  make  in  great  variety,  and  an  ornamental  vase 
decorated  after  the  manner  of  Bernard  Palissy.  This  last-named  object  is  an 
elaborately  wrought  work,  great  care  having  been  taken  with  the  enarhel  coloring, 
which  is  very  rich  and  varied.  In  otliers  of  the  group  there  are  examples  of 


INDUSTRIAL  ART. 


387 


figure-modeling,  the  most  noteworthy  specimen  of  this  kind  being  the  little 
figure  who,  from  the  weight  of  the  basket  he  is  carrying  aloft,  may  be  taken 
to  represent  the  infant  Hercules. 

Still  further  examples  of  Messrs.  Brown,  Westhead,  Moore  & Co.’s  manu- 
facture may  be  seen  on  page  381  The  porcelain  vase  of  ovoid  shape,  in  the 


UniilliiiiSiri 

Carved  Bedstead : Feme  Bariolozzi,  Florence, 


upper,  left-hand  corner  of  the  page,  attracted  attention  by  its  decoration  and 
ornament  as  well  as  by  the  rich,  even  coloring  of  the  body  of  the  piece ; these 
latter  qualities  being  difficult  to  obtain  on  large  surfaces.  The  handles  of  the 
vase  are  ram’s  heads,  modeled  after  nature.  Between  them  are  suspended 
garlands,  so  disposed  as  to  form  frames  for  the  medallion  portraits  that  enrich 
the  sides  of  the  vase.  We  have  on  this  page,  also,  examples  of  ornamental 
tiles  suitable  for  walls,  floors  and  chimneys ; and  in  one  corner  is  a single  tile. 


388 


THE  INTERNATIONAL  EXHIBITION,  1876. 


painted  by  hand,  suitable  for  any  decorative  purpose.  The  design  is  a simple 
one — a palm  branch  with  a pair  of  parrakeets  perched  on  one  of  the  shoots; 


but  it  is  so  deli- 
cately painted 
and  colored,  and 
evinces  such  an 
artistic  feeling  in 
treatment  that 
the  tile 
worthily 


micjht 

o 


be 

framed  and  hung 
in  a room  as  a 
wall  -ornament. 
Below  this  tile 
are  two  plaques, 
decorated  with 
flower  designs 
after  nature  and 
scroll-work  geo- 
metrically dis- 
posed, both  of 
which  illustrate 
the  high  class  of 
talent  employed 
bv  this  firm. 

The  section  of 
Carpet,  engrav- 
ed on  page  382, 
is  from  the  exhib- 
it made  by  Mes- 
srs. Tompkinson 
& Adam,  of 


Carpet  : Tompkinson  Adam,  Kidderminster,  England. 


Kidderminster, 
England.  Only 
a portion  of  the 
central  pattern  is 
shown  in  our 
illustration,  but 
the  design  of  the 
border  is  given 
in  full.  It  will  be 
seen  that  this  is 
quite  elaborate 
in  detail,  and  that 
the  lines  are  so 
disposed  as  to 
make  it  a strong- 
ly marked  fea- 
ture of  the  whole 
pattern. 

The  Iron  Grate, 
on  page  383,  was 
exhibited  in  the 
extensive  display 
made  by  Steel 
& Garland,  of 
Sheffield,  Eng- 
land. The  prin- 
cipal feature  of 
the  work,  aside 
from  the  general 
design,  is  the 


decoration  of  the  panels.  These  have  been  enriched  with  figures,  executed  in 
low  relief,  in  imitation  of  Japanese  work  of  a like  nature.  The  effect  is  novel 


INDUSTRIAL  ART. 


389 


■si 


8 


O 


and  striking  as  well  as  highly  ornamental,  and  is  a creditable  illustration  of  the 
character  of  work  displayed  by  the  above  firm. 

The  exhibit  of  M,  Lobmeyr,  of  Vienna,  furnishes  us  with  another  illustra- 


390 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 7 6. 


tion  in  the  Glass  Plaque  engraved  on  page  384.  The  characteristics  of  the 
workmanship  in  this  beautiful  object  are  the  same  as  have  been  previously 
described  in  connection  with  other  art-works  from  the  same  collection.  The 
Plaque  consists  of  a ruby  red  glass  welded  on  to  a transparent  crystal.  The 
pattern,  as  seen  in  our  illustration,  is  then  cut  through  from  one  surface  to  the 
other.  The  effect  is  strikingly  beautiful.  Other  portions  of  the  pattern  are 
afterwards  worked  in  with  gilding  to  increase  the  richness  of  the  design.  As 
all  the  cutting  has  been  done  on  the  under  side,  the  surface  is  perfectly  smooth 
and  polished  ; but  in  order  to  get  the  full  effect,  the  Plaque  should  be  viewed 
in  transmitted  light,  when  a prismatic  effect  of  color  is  obtained,  which  is 
indescribably  rich. 

Our  illustration  on  page  385  represents  one  of  the  most  elaborate  examples 
of  tile  decoration  exhibited  at  the  Centennial.  It  is  a study  for  an  Ornamental 
Tile  Mantle-piece,  executed  at  the  famous  manufactory  of  Messrs.  Minton, 
Hollis  & Co.,  of  London.  It  was  undoubtedly  the  chef  d'ceuvj^e  of  their 
exhibit  then,  and  at  the  present  time  it  remains,  one  of  the  noticeable  art-works, 
in  the  Permanent  Exhibition. 

In  the  engraving,  the  size  and  position  of  the  several  tiles  have  been  pur- 
posely indicated  by  lines,  in  order  to  show  the  construction  of  the  work,  but  in 
the  original,  the  junction  of  the  parts  is  so  nicely  adjusted  as  to  quite  escape 
notice.  This  must  be  borne  in  mind  in  studying  our  illustration,  since  the 
presence  of  any  such  strongly  marked  divisions  would  greatly  mar  the  pictorial 
effect  of  the  work. 

Beginning  with  the  fireplace,  which  forms  but  a very  small  part  of  the 
whole  design,  we  observe  that  its  sides  are  inlaid  with  small  tiles  of  a light 
color,  decorated  with  simple  geometric  patterns.  But  the  panels  above  and  on 
either  side  of  the  fireplace  are  of  quite  a different  character.  The  upper  panel, 
composed  of  six  square  tiles,  is  enriched  with  a charming  little  picture  repre- 
senting a bit  of  marsh  land  with  grasses  and  flowers  in  bloom,  and  a pair  of 
saucy  little  birds  disputing  the  possession  of  the  domain.  The  painting  is 
vigorously  executed  in  bright  colors  upon  the  white  surface  of  the  tiles.  The 
side  panels  are  painted  in  much  the  same  manner.  The  surface  of  the  tiles  is 
white,  and  on  it  are  delicate  vine-sprays  with  brilliantly  plumaged  birds  darting 
in  and  out  between  the  leaves.  These  panels  and  the  broad  shelf  above  them 


INDUSTRIAL  ART. 


391 


make  up  the  accessories  usual  to  a fireplace ; but  they  are  but  a portion  of 
this  design.  On  either  side,  the  portion  of  the  wall  usually  wainscoted  is 
covered  with  figured  tiles,  making  a diaper  pattern  finished  with  a border  or 
dado  of  another  design,  and  above  this  the  whole  wall-surface  up  to  the  ceiling 
is  decorated  in  the  same  manner.  In  the  centre,  above  the  mantle-shelf,  is  a 


China  Plaque  and  Basin  : French  Collective  Exhibit. 


picture,  some  three  feet  wide  by  four  feet  high,  framed  in  tiles.  Unlike  any 
other  part  of  the  composition,  this  picture  is  painted  in  sienna-brown  on  a 
white  ground,  no  other  colors  being  used.  It  represents  the  interior  of  a 
peasant’s  cottage  and  a group  of  four  figures  — the  mother  with  her  babe 
sleeping  upon  her  knee,  a half-grown  lad  leaning  upon  the  back  of  her  chair, 
and  a younger  boy  seated  at  her  feet.  It  is  bed-time  for  the  little  fellow,  but 


392 


THE  INTERNATIONAL  EXHIBITION,  1876. 


he  does  not 
want  to  go,  and 
the  mother 
seems  to  be 
appealing  to 
the  elder  bro- 
ther to  set  the 
little  lad  agood 
example  and 
to  go  with  him. 
It  is  a homely 
scene,  such  as 
might  be  seen 
in  any  cot- 
tager’s home 
at  eventide,  but 
the  artist  has 
portrayed  it 
with  such  fidel- 
ity, and  made 
such  an  har- 
moniousgroup- 
inof  of  the  fisf- 

o o 

ures,  that  the 
observer  can- 
not fail  to  be 
pleased  with 
the  work. 

The  narrow 
upright  panels, 
separated  from 
this  picture  by 
the  frame,  and 
bounded  on  the 


Lpergne  : Zimvierman — Collective  Exhibit  of  Germany, 


Other  side  by 
a strip  of  tiles 
similar  to  those 
in  the  frame, 
are  painted  in 
a like  style 
to  the  panels 
around  the  fire- 
place, but  with 
greater  bril- 
liancy of  color 
and  execution. 
We  have  here 
glimpses  of  a 
tropical  forest 
alive  with  gor- 
geous-plum- 
aged  birds  and 
resplenden  t 
butterflies.  The 
artistic  excel- 
lence of  these 
pieces  is  as 
great  as  in  any 
other  part  of 
the  work,  and 
the  variety  and 
richness  of  the 
color  in  them 
is  astonishing, 
when  we  con- 
sider that  all 
have  to  be  of 
a nature  ca- 


INDUSTRIAL  ART. 


393 


pable  of  withstanding 
the  action  of  the  heat  in 
the  firing  to  which  they 
are  subjected. 

Some  curious  ex- 
amples of  Turkish 
Crockery  are  shown  on 
page  386,  These  speci- 
mens represent  a ware 
very  common  in  Turkey, 
and  one  which  is  made 
with  very  little  variation 
of  form  or  in  the  method 
of  manufacture  in  various 
parts  of  the  empire.  The 
material  is  a common  red 
clay,  which  is  moulded 
and  baked  in  the  kiln 
into  a porous  earthen- 
ware. 

After  this  preliminary 
baking,  the  vessels  are 
covered  with  a greenish- 
colored  silicious  glaze 
and  subjected  to  another 
firing,  which  fixes  the 
glaze  and  renders  the 
vessels  impervious  to 
liquid.  Although  this 
crockery  is  designed  for 
the  commonest  uses  and 
is  very  cheap,  the  forms 


Bronze  Lamp  and  Stand : French  Col- 
lective Exhibit. 


are  often  exceedingly 
graceful,  as,  for  example, 
in  the  group  before  us. 
All  are  hand-made,  and 
for  this  reason  each  one 
is  apt  to  have  some  in- 
dividual merit  of  its  own. 
Some  are  ornamented 
with  designs  in  relief 
made  of  strips  or  bits  of 
clay  modeled  to  the 
maker’s  fancy  and  stuck 
on  to  the  surface  of  the 
vessel  while  it  is  green — 
that  is,  unbaked.  Two  of 
the  examples  in  our  illus- 
tration are  enriched  in 
this  way.  In  the  Cen- 
tennial exhibit  of  Turkey 
there  was  a case  full  of 
this  curious  ware,  which 
attracted  much  attention, 
both  on  account  of  its 
novelty  and  the  artistic 
merit  of  many  of  the 
pieces.  Some  of  the 
specimens  were  only  par- 
tially glazed, in  order  to 
show  the  quality  and 
character  of  the  material 
from  which  they  were 
made. 


To  those  who  are  interested  in  wood-carving,  the  Centennial  Exhibition 
furnished  valuable  opportunities  of  studying  the  subject.  The  most  noticeable 


394 


THE  INTERNATIONAL  EXHIBITION,  1876. 


collection  was  in  the  Italian  Court,  and  our  readers  already  are  familiar  with 
a number  of  the  finest  examples  in  that  exhibit.  On  page  387  we  engrave 
another  one  of  these  works,  a Carved  Bedstead,  manufactured  by  Ferrie  & 
Bartolozzi,  of  Florence,  Like  all  the  other  Italian  carving  shown,  the  charac- 
teristic of  this  work  is  an  extraordinary  skill  in  the  use  of  the  chisel.  The 
artist  works  with  an  ease  and  certainty  that  make  it  appear  almost  impossible 


that  he  is  treatinor 
a material  so  hard 
as  wood.  To  look 
at  the  little  figures 
that  adorn  this  bed- 
stead, one  would 
almost  imagine  that 
they  had  been  mod- 
eled in  clay,  so  per- 
fect are  they  in 
outline  and  feature. 
In  the  panels,  also, 
and  in  the  enrich- 
ments of  the  pillars, 
the  frame-work  and 
the  frieze  to  the 
head-board,  we  note 
the  same  consum- 
mate skill.  The  ma- 
terial from  which 


Faience  Vase : Italian  Court. 


this  superb  ex- 
ample of  wood- 
carving is  made  is 
walnut,  a wood  that 
is  fine  in  grain  and 
very  tenacious. 
The  artist  has 
therefore  been  en- 
abled to  carve  in 
it  designs  of  won- 
derful minuteness 
of  detail.  In  the 
foot-board  there  is 
a medallion,  sur- 
rounded by  scroll- 
work and  ara- 
besques, in  which 
is  depicted  a Venus 
borne  upon  the 
waves,  which  could 


hardly  be  surpassed  in  metal  for  elegance  and  perfection  of  execution.  The 
same  may  be  said  of  the  panels  in  the  head-board,  the  central  one  of  which 
represents  Cupid  and  Psyche,  and,  in  a less  degree,  the  remark  applies  to  the 
upper  panel  with  its  armorial  bearings. 

In  no  country  in  Europe  was  the  influence  of  the  Renaissance  more  keenly 
felt  than  in  Italy,  and  nowhere  has  the  present  art-revival,  in  its  restricted  form 
of  wood-carving,  been  marked  with  better  results  than  in  the  same  country. 
In  the  beginning  of  the  sixteenth  century  the  wealth  and  liberality  of  the  great 


INDUSTRIAL  ART 


395 


noblemen,  such  as  the  Medici  family,  gave  an  impulse  to  the  study  of  art,  and 
schools  were  established  in  many  of  the  Italian  States  where  the  study  of  the  old 
classic  models  obtained.  At  this  time,  too,  the  best  artists  of  the  day  gave  their 
attention  to  wood-carving,  and  even  worked  in  it  themselves.  Many  of  these 
works  are  still  to  be  found  in  Italy,  and  with  such  models  before  them  it  is 
hardly  to  be  wondered  that  the  modern  Italian  workmen  find  in  them  instruc- 
tion and  inspiration  to  enable  them  to  revive  the  glory  of  the  Cinquecento. 


Another  example 
of  Kidderminster 
Carpet,  manufactur- 
ed by  Messrs.  Tomp- 
KiNSON  & Adam, 
OF  Kidderminster, 
England,  is  illus- 
trated on  page  388. 
The  design  with 
which  this  carpet  is 
enriched  is  of  a dif- 
ferent nature  from 
any  of  those  appear- 
ing in  the  specimens 
of  carpet  already  en- 
graved. It  is  neither 
a composition  of  fo- 
liage nor  an  exactly 
balanced  scroll-work. 


buta  pattern  suggest- 
ing the  realism  of  the 
one  and  the  geomet- 
ric arrangement  of 
the  other.  There  are 
interwoven  scroll 
figures,  like  plant- 
tendrils,  distributed 
over  the  surface  of 
the  fabric  at  regular 
intervals  ; but  while 
all  these  scrolls  have 
a general  resem- 
blance, no  two  are 
exactly  alike,  and  the 
same  remark  is  true 
of  the  work  that  fills 
up  the  intermediate 
spaces.  Therefore 
the  effect  of  the  whole  is  harmonious  and  simple  without  any  of  the  sameness 
of  repetition.  By  making  the  outline  of  his  figures  broken  and  indistinct,  the 
designer  has  given  a soft,  mossy  appearance  to  his  work,  suggestive  of  a 
yielding,  restful  sensation  to  the  tread. 

Carpets  being  of  the  nature  of  tapestry,  and  in  olden  times  being  made 
in  much  the  same  way,  we  find  that  the  earliest  designs  for  their  decoration  are 
very  much  in  the  style  of  tapestry  designs.  But  it  must  be  remembered  that 
these  ancient  carpets,  scarcely  as  large  as  a modern  rug,  were  precious  things, 


Porcelain  Vase  : yapanese  Court 


396 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Cut  Glass:  y.  Green  &=  Nephew,  London. 


intended  almost  as  much  for  display  as  for  use,  and  that  elaborate  pictorial 
designs  were  therefore  measurably  justifiable.  Almost  the  earliest,  if  not  the 
very  earliest  use  of  carpets  in  Europe  was  to  spread  them  in  the  sanctuary 


INDUSTRIAL  ART. 


397 


of  cathedrals  on  high  festivals.  There  is  an  ancient  record  referred  to  by  the 
VTry  Rev,  Dr.  Brock  in  his  book  on  “Textiles,”  which  states  that  an  abbot 
Egelfic,  before  the  year  992,  gave  to  the  church  at  Croyland  “two  large  foot- 
cloths  woven  with  lions,  to  be  laid  out  before  the  high  altar  on  great  festivals, 
and  two  shorter  ones,  trailed  all  over  with  flowers,  for  the  feast-days  of  the 
apostles.”  He  also  states  that  old  tapestry  came  so  to  be  employed,  and 
mentions  “a  large  piece  of  Arras  cloth,  figured  with  the  life  of  the  duke  of 
Burgundy,”  that  was  given  to  Exeter  by  Bishop  Lacy,  in  1420,  to  cover  the 
floor  before  the  altar. 


Table  - Cover : Turkish  Court. 


When  the  famous  factories  of  France  were  established,  the  carpets  made 
for  royalty  vied  with  the  tapestries  in  magnificence  of  design  and  artistic 
execution.  The  styles  then  in  vogue  have  remained  favorites  in  Europe  ever 
since.  Nor  have  they  ever  been  surpassed,  anywhere,  in  brilliancy  of  color  and 
delicacy  of  finish.  Hence  we  commonly  see  throughout  Europe,  in  the  finer 
grades  of  carpet,  a design  combining  exquisite  imitations  of  natural  flowers, 
disposed  in  garlands  and  scrolls,  with  vases  and  shell  forms,  such  as  were 
affected  by  ornamentists  of  the  Louis  Quartorze  period.  Or,  again,  we  see 
those  arabesque  designs  with  all  sorts  of  natural  objects  grafted  on  a central 
stalk  like  the  stem  of  a candelabrum.  These  objects  are  shaded  and  rounded 
and  brought  into  relief  with  all  the  skill  possible.  In  short,  the  suggestion  of 
flatness  is  avoided  as  much  as  possible.  Conceding  the  intrinsic  beauty  of  these 


398 


THE  INTERNATIONAL  EXHIBITION,  iSy6. 


INDUSTRIAL  ART. 


399 


designs,  the  question  remains,  Are  they  excellent,  even  in  an  artistic  sense,  as 
carpet  designs  ? In  old  times  when,  as  we  have  seen,  carpets  were  more 
looked  at  than  used,  designs  of  Bowers,  or  birds  or  beasts,  or  even  pictorial 
representations  were  not  out  of  place;  but  all  that  is  changed  now:  carpets 
are  made  for  use,  to  be  walked  over,  and  to  be  partly  covered  and  concealed 
by  articles  of  furniture.  The  eye  looks  down  upon  a carpet,  not  across  hori- 
zontally, as  a tapestry  or  curtain,  and  it  is  never  more  than  from  four  to  six 
feet  above  it;  therefore  all  these  considerations  should  be  regarded  in  devising 
carpet  designs.  First  of  all  they  should  be  flat,  because  the  surface  on  which 


Casket:  Collective  Exhibit  of  Austria. 


they  are  to  be  displayed  is  to  be  walked  over.  We  do  not  wish  to  tread  on 
birds  or  beasts  or  fishes  or  insects,  crushing  them  under  our  feet,  nor  on  flowers 
or  vases  or  shells.  We  want  a smooth,  even  surface  and  the  semblance  of 
one.  Secondly,  since  we  see  the  pattern  from  such  a near  distance,  we  do  not 
want  a huge  composition  under  our  feet  that  can  only  be  seen  in  entirety  from 
a perch  in  the  chandelier.  And  thirdly,  what  is  quite  as  important  as  anything 
else,  the  pattern,  both  in  design  and  color,  should  be  unobtrusive  in  character. 
It  should  be  a field  for  the  display  of  the  furniture  and  ornaments  as  much  as 
the  wall-paper  should  be  a background  for  the  pictures  in  a room.  Yet  how 
often  do  we  enter  an  apartment  in  which  the  carpet  or  the  wall-paper,  or  both, 
thrusts  itself  most  obtrusively  upon  the  sight. 


400 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


On  page  389  we  engrave  an  example  of  French  sculpture — a Marble 
Chimney-Piece — shown  in  the  P'rench  Court  at  the  Centennial.  Like  all  French 
ornamental  stone  carving,  it  is  exceedingly  elaborate  and  rich  in  detail.  A lion’s 
head,  projecting  from  the  entablature  above  the  keystone  of  the  arch,  forms 
the  central  ornament.  This  is  enclosed  between  garlands  of  flowers  which 
untwine  from  the  supports  on  either  side  and  distribute  themselves  over  the 

nobly  proportioned 
apartment. 

The  illustrations 
on  page  391  are 
examples  of  Deco- 
rated Porcelain, 
from  the  French 
Collective  Exhibit. 
The  upper  figure 
represents  a shal- 
low vase  or  dish, 
suitable  for  use  as 
a card-receiver  or 
for  fruit  or  flowers. 
Indeed,  a piece  of 
this  kind  is  con- 
stantly in  demand 
for  some  purpose 
or  other — if  not  for 
use,  at  least  for 

ornament.  The  second  figure  is  an  ornamental  plaque,  elaborately  enriched 
with  scrolls  and  foliated  tracery  in  the  centre,  and  a beautiful  border  of  a con- 
ventional character.  The  color-work  in  this  piece  is  rich  and  brilliant,  making 
it  a striking  ornament  for  a cabinet. 

A charmingly  light  and  graceful  ornament  for  the  table  is  the  Epergne 
illustrated  on  page  392.  It  was  exhibited  in  the  Collective  Exhibit  of  Ger- 
many by  the  manufacturer,  E.  G.  Zimmerman,  of  Hanau.  The  materials  are 
silver  and  crystal,  the  silver  being  employed  in  the  ornamental  standard,  the 


extremities  of  the 
frieze.  The  carvino' 

o 

is  in  high  relief,  with 
elaborate  execution 
of  detail.  The  tri- 
angular panels  on 
either  side  of  the 
arch  are  filled  with 
foliated  scroll-work, 
and  the  columns 
have  their  propor- 
tion of  ornament. 
All  these  elaborate 
enrichments  serve 
to  lighten  the  mass- 
iveness of  the  con- 
struction, which 
would  be  out  of 
place  in  any  other 
than  a large  and 


Silver  Russian  Beer  yug 


r 


INDUSTRIAL  ART.  401 


groups  of  cupids,  etc.,  and  the  crystal  for  the  vase  and  dishes.  A very  pretty 
feature  of  the  design  are  the  little  figures  about  the  stem  of  the  Epergne, 
standing,  balanced,  as  if  about  to  plunge  for  a bath  into  the  basin  at  their  feet. 

The  elegant  Bronze  Lamp  and  Stand,  illustrated  on  page  393,  are  from 
the  French  Collective  Exhibit.  Both  pieces  are  complete  and  perfect  in  them- 
selves, so  that  they  can  be  used  separately,  the  lamp  as  a hall-  or  table-lamp, 
and  the  stand  as  a rest  for  a jardiniere,  statuette  or  anything  of  a like  nature. 


But  the  designer  has 

surmounted  by  a short. 

evidently  contemplated 

narrow  neck  and  mouth. 

that  the  one  will  be  used 

Its  surface  is  decorated 

with  the  other,  and  has 

with  one  of  those  quaintly 

fashioned  their  lines  ac- 

i| 

drawn  pictures  for  which 

cordingly,  making  the 

the  old  faience  and  ma- 

outline  of  the  two  blend  / 

jolica  are  famous.  For 

into  a harmonious  whole  / 

handles,  two  naked  satyrs 

of  classical  beauty  and  | 

stand  in  contorted  atti- 

eleofance.  1 

• Wa  -il  xmWd’  / ■'  mwK 

.-mm  ' 

tudes  upon  bacchic 

On  page  394  is  illus- 

\ WM-'  W T ' ' ^iilwiiillliiiHp^ 

masks. 

trated  a Faience  Vase, 

Our  next  illustration. 

from  the  exhibition  in 

n 

on  page  395,  is  also  an 

the  Italian  Court  at  the 

Wi9r 

example  of  pottery,  but 

Centennial,  made  in  imi- 

of  a vastly  different  na- 

tation  of  the  ancient  1 

Hlllllllllil.imilMi!!ii'i^ 

ture.  It  is  a Porcelain 

ware.  The  vessel  is  of 

Cupid  and  Psyche — Bronze  : 

Vase  of  Japanese  manu- 

ovoid  shape,  resting  upon 

Italian  Court. 

facture.  Its  shape  is  that 

a very  small  base,  and  . 

of  a truncated  cone,  the 

outline  hardly  broken  by  light 

handles  and  rintrs 

0 

attached  to  the  upper  part 

of  the  body.  The  greater  portion  of  the  surface  of  the  vase  is  enameled  of 
a light  blue  color,  enriched  with  exquisitely  executed  sprays  of  tlowers.  There 
is  a border  of  the  peculiar  key  pattern  common  as  well  in  oriental  as  in  Greek 
decoration,  and  above  this  a pattern  of  conventionalized  leaf  forms.  All  the 
decoration  is  rich  with  brilliant  colors,  picked,  here  and  there,  with  gold. 

The  beautiful  shapes  that  can  be  made  in  glass,  as  well  as  the  exquisite 
enrichment  of  which  it  is  capable,  are  well  shown  in  our  illustrations,  on  page 


402 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 7 6. 


396,  of  Cut  Glass.  These  examples  are  from  the  establishment  of  M.  J.  Green, 
OF  London,  and  may  be  accepted  as  exemplars  of  the  technical  excellence  of 
the  manufacture  in  England.  Each  piece  is  of  “blown”  glass,  the  name 
expressing  the  method  in  which  it  is  shaped,  and  in  this  way  a brilliancy  and 
clearness  of  surface  is  produced  which  cannot  be  obtained  by  any  other  means. 


Ganymede — Terra  Cotta : The  Widow  Ipsen  of  Copenhagen. 


After  the  pieces  have  been  thus  shaped,  the  next  thing  is  to  cut  and  engrave 
the  surface  as  may  be  required,  and  we  have  before  us  four  several  examples 
in  a finished  state.  The  delicacy  and  perfectness  of  this  work  is  marvelous 
when  we  consider  that  it  is  all  done  upon  a wheel,  and  that  a slip  is  irremedi- 
able. In  the  goblets  the  extreme  thinness  and  transparency  of  the  crystal 
becomes  the  more  apparent  in  contrast  with  the  engraving. 


INDUSTRIAL  ART. 


403 


The  Embroidered  Table-Cover,  illustrated  on  page  397,  is  an  excellent 
example  of  Turkish  decorative  needle-work.  It  was  one  of  the  numerous 
examples  of  textile  manufacture  exhibited  in  the  Turkish  Court  at  the  Centen- 


nial. As  we  have  seen  heretofore,  Turkish  carpets  and  rugs  usually  are  of 
negative  shades  of  color,  rich  and  full,  although  a little  sombre,  but  their  other 
fabrics,  for  garments,  wall-hangings,  furniture  covers,  etc.,  are  of  the  most 


404 


THE  INTERNATIONAL  EXHIBITION,  1876. 


gorgeous  description.  In  their  designs  for  these,  they  exhibit  the  true  oriental 
love  for  brilliant  contrasts  and  glowing  masses ; the  European  eye  is  often 
bewildered  with  the  intricacy  of  the  patterns  ; yet  a study  of  these  works  makes 
their  high  artistic  excellence  apparent.  In  the  example  before  us  a favorite 
style  of  workmanship  is  shown.  The  cover  is  made  up  of  pieces  of  brightly 
colored  cloths  sewed  together,  after  which  the  seams  have  been  wrought  over 
in  broad  lines  of  embroidery  with  silk  thread.  These  lines  form  the  outlines 
of  the  more  marked  portions  of  the  design,  the  border  scrolls,  the  leaf  patterns. 


Lace. 


the  central  medallion,  etc.  The  outlines  and  arrangement  of  color  contrasts, 
however,  make  but  a small  portion  of  the  work.  All  the  intermediate  spaces 
have  been  filled  in  with  embroidery,  with  thinner  threads  of  delicate  tendrils 
and  flowers  and  leaf-shapes,  sufficiently  conventionalized  to  harmonize  with  the 
geometric  arrangement  of  the  other  parts.  The  effect  of  the  whole  is  wonder- 
fully rich  and  beautiful,  especially  when  we  study  the  detail  and  observe  how 
exceedingly  simple  each  part  is  in  itself. 

The  well-known  reputation  of  the  French  tapestry-workers  is  happily  illus- 
trated in  the  engraving,  on  page  398,  of  an  Aubusson  Tapestry  Screen,  which 
was  exhibited  in  the  French  Court  at  the  Centennial.  The  design  is  one  of 


INDUSTRIAL  ART. 


405 


those  fanciful  interweavings  of  scrolls,  garlands  and  emblems  of  the  arts  into 
a light  and  gracefully  balanced  figure  which  French  artists  execute  with  con- 
summate skill.  It  is  a fashion  of  ornamentation  that  found  favor  in  the  gorgeous 
reigns  of  Louis  Quartorze  and  Louis  Ouinze,  and  no  where  else  has  it  since 
been  brought  to  such  perfection.  Although  intended  simply  as  a setting  for 
the  tapestry,  the  carved  wooden  frame  to  this  fine  work  should  not  be  over- 
looked. Its  ornament  harmonizes  with  the  design  in  the  tapestry,  and  while 


Lace. 


sufficiently  elaborate  to  be  rich  and  elegant,  it  does  not  obtrude  itself  to  a first 
place  in  the  eyes  of  the  observer.  On  the  lower  rail  of  the  frame  is  a group 
of  musical  instruments,  a laurel- wreath,  and  hanging  garlands  of  flowers,  all 
carved  in  full  relief,  yet  so  artistically  considered  in  conjunction  with  the  tapestry 
as  to  seem  at  a first  glance  at  the  illustration,  a part  of  the  tapestry  itself. 

On  page  399  we  illustrate  a Jewel  Casket,  from  the  Austrian  Collective 
Exhibit  at  the  Centennial.  The  box  is  of  silver,  with  panels  ornamented  with 
designs  in  repotisse-^orV.  The  richness  of  this  ornamentation  is  seen  in  our 
illustration,  which  gives  a front  view  of  the  case.  The  design  is  singularly 


4o6 


THE  INTERNATIONAL  EXHIBITION,  1876. 


graceful  and  elegant,  and 
is  executed  with  marvel- 
ous delicacy  and  finish. 
The  other  panels  are 
equally  artistic  in  design 
and  execution,  though  not 
so  elaborate  as  this  one. 
The  work  as  a whole  is  a 
fine  example  of  Austrian 
skill  in  artistic  work  in  the 
precious  metals. 

Another  example  of  art- 
istic metal-work,  this  time 
of  Russian  manufacture, 
is  the  massive  Silver 
Flagon,  engraved  on  page 
400.  This  piece  was 
shown  in  the  Russian 
Court  among  the  magnifi- 
cent collection  of  works  in 
the  precious  metals  sent 
by  Russia  to  the  Centen- 
nial. It  is  a splendid 
piece  of  work.  The  de- 
sign and  execution  of  the 
figures,  wrought  in  full  re- 
lief about  the  body  of  the 
flagon,  is  most  spirited. 
Like  the  Russian  bronzes, 
the  work  has  a strong  in- 
dividuality of  its  own  and 
a local  color.  The  artist 
evidently  has  taken  for  his 
theme  an  episode  in  the 


Stole  : Collective  Exhibit  of  Belgium. 


life  of  one  of  the  czars, 
probably  Peter  the  Great. 
In  contrast  to  the  elabo- 
rate richness  of  this  orna- 
mentation is  the  rest  of 
the  flagon.  The  kneeling 
figure  of  a man  forms  the 
knop  to  the  lid,  but  with 
this  exception  the  vessel 
is  severely  plain. 

The  story  of  Cupid  and 
Psyche,  one  of  the  most 
beautiful  of  the  Greek  ro- 
mances, has  been  told  over 
and  over  again  both  in 
prose  and  verse.  Learned 
disquisitions  have  been 
written  to  prove  that 
Psyche  was  typical  of  the 
soul,  and  to  trace  in  the 
legend  its  preparation  for 
an  immortal  state.  To 
painters  and  sculptors  the 
beautiful  story  has  been 
an  unfailing  inspiration- 
and  there  is  perhaps  no 
episode  in  the  narrative 
that  has  not  been  ren- 
dered by  the  brush  or 
chisel. 

On  page  401  we  en- 
grave a Green  Bronze 
Group,  from  the  collection 
of  bronzes  in  the  Italian 


r 


INDUSTRIAL  ART. 


407 


Court,  which  has  this  story  for  its  theme.  We  may  imagine  that  the  artist  has 
chosen  for  his  subject  the  supreme  moment  when  Psyche,  purified  through 
suffering,  was  taken  up  among  the  immortals  and  united  to  her  beloved  by 
Jove  himself. 

Another  classical  story  is  told  in  the  Terra-Cotta  Group,  from  the  collec- 
tion of  the  Widow  Ipsen,  of  Copenhagen,  engraved  on  page  402.  Here  we 


have  Ganymede, 
the  most  beauti- 
ful of  mortals, 
who  was  carried 
off  from  Troy  by 
the  eagle  of  Ju- 
piter, or  by  the 
Thunderer  him- 
self under  that 
disguise,  to  suc- 
ceed Hebe  as  the 
cup-bearer  to  the 
o^ods.  No  one 

o 

who  saw  this  fine 
group  of  statu- 
ary in  the  Danish 
Court  at  the  Cen- 
tennial will  have 
forgotten  how  ex- 
quisite the  work- 


Book-Binding : M.  Lortic,  Paris. 


manship  upon  it 
was,  nor  how 
much  the  rich 
warm  color  of 
the  terra-cotta 
added  to  its  ef- 
fectiveness. 

A thoroughly 
artistic  and  alto- 
gether satisfac- 
tory example  of 
ornamental  met- 
al-work is  the 
example  of  Iron 
Railing  illustrat- 
ed on  page  403. 
It  is  from  the  ex- 
hibit of  Messrs. 
Barnard,  Bishop 
& Barnards,  of 


Norwich,  in  the  Enorlish  Court  at  the  Centennial.  We  have  here  an  admirable 
illustration  of  the  manner  in  which  natural  forms  may  be  conventionalized 
without  losing  any  of  their  characteristics,  while  the  nature  of  the  material  in 
which  they  are  to  be  wrought  is  not  forgotten.  The  artist  has  taken  for  his 
model  the  common  sunflower,  and  treated  it  with  a degree  of  skill  worthy  of 
all  praise.  In  the  whole  range  of  designs  in  ornamental  metal-work  in  the 
Exhibition,  we  remember  no  one  more  admirable  in  every  way  than  this. 

The  graceful  Lace  of  Switzerland,  of  which  several  choice  examples  have 


4o8 


THE  INTERNATIONAL  EXHIBITION,  1876. 


been  engraved  in  former  pages  of  this  work,  is  famous  for  the  beauty  and 
variety  of  its  designs,  and  we  illustrate  on  pages  404  and  405  additional 


Lavori — Tcry-a-coitU  : Italian  Court. 


specimens  of  noteworthy  excellence.  In  both  of  these  works  there  is  the  same 
careful  study  of  plant-life,  and  an  artistic  appreciation  of  its  capabilities  for 
ornament  evident  to  the  observer.  Without  a careful  observance  of  forms  in 


INDUSTRIAL  ART. 


409 


Cabinet : Cooper  Holt,  London. 


410 


THE  INTERNATIONAL  EXHIBITION,  1876. 


their  natural  state  no  artist,  however  skillful,  could  have  wrought  these  beautiful 
designs.  Nor  is  this  knowledge  all  that  is  required  to  make  the  lace  pattern, 
for  in  the  border  we  see  graceful  curves  Interwoven  with  delicate  geometric 


Faun,  in  Terra-cotta  : Andrea  Boni,  Milan. 

figures  and  these  again  succeeded  by  an  edging  of  flowers  and  leaves  conven 
tionalized  to  make  an  even  and  regular  finish  to  the  whole  piece. 

From  the  collective  exhibit  of  Belgium  we  take  for  illustration  the 

o 

Embroidered  Stole,  engraved  on  page  406.  It  is  an  astonishing  piece  of 


INDUSTRIAL  ART. 


411 


needlework,  such  as  is  rarely  wrought  now-a-days,  although  in  ancient  times 
“when  art  was  still  religion”  examples  of  equal  richness  and  elaborateness 
were  common  enough.  Each  one  of  the  six  medallions,  seen  in  the  illustration, 
has  been  wrought  in  coloreci  silks,  stitch  by  stich,  after  a colored  design  with  which 
the  workers  were  provided.  To  give  to  the  finished  work  the  delicacy  of 
expression,  the  soft  gradations  of  color,  in  short,  the  picture-like  effect  of  the 
pattern,  requires  a skill  and  nicety  of  execution  only  attainable  after  long  practice. 

the  medallion  which  is 
sunk  into  the  middle 
of  the  cover.  In  the 
centre  of  each  of  the 
little  fiowers  that  ap- 
pear here  and  there 
in  the  design  are  small 
ivory  dots  which  pro- 
ject just  enough  to 
protect  the  surface  of 
the  leather  from  abra- 
sion by  other  surfaces. 

One  of  the  prettiest 
lountain  designs  in  the 
Centennial  was  that 
shown  in  our  illustra- 
“ tooling;”  and  the  same  Bronze  Candelabrum:  French  Collective  Exhibit.  Oil  pageqoS.  It 

leaf-pattern  is  used  in  is  a terra-cotta  group, 

between  three  and  four  feet  high,  made  by  Andrea  Boni,  of  Milan.  Nothing 

could  be  more  charming  than  the  pose  of  these  two  little  children,  huddled 
together  under  the  umbrella,  from  which  drips  the  spray  of  the  fountain.  The 
group  is  not  only  an  excellent  work  of  art,  it  is  a very  clever  adaptation  ol 

a work  artistic  in  itself  to  a certain  use.  As  a lawn  group  It  would  be 

exceedingly  effective,  the  rich  red  color  of  the  terra-cotta  contrasting  finely  with 
the  green  of  the  sward. 

On  page  409,  we  illustrate  a Cabinet,  manufactured  by  Messrs.  Cooper  & 
Holt,  of  London,  in  which  the  strictest  requirements  of  honest  construction  and 


The  artistic  Book- 
binding of  France,  for 
which  that  nation  has 
long  been  famous,  was 
well  represented  at  the 
Centennial  by  many 
beautiful  examples. 
One  of  these,  a remark- 
ably chaste  and  rich  de- 
sign, by  M.  Lortic,  of 
Paris,  is  shown  in  an 
illustration  on  page 
407.  The  border  is 
. composed  of  a foliated 
scroll-work,  wrought  by 
the  process  known  as 


412 


THE  INTERNATIONAL  EXHIBITION,  1876. 


legitimate  ornamentation  have  been  complied  with.  The  object  is  interesting 
as  an  example  of  the  good  results  to  be  obtained  by  an  intelligent  use  of  means 
of  ornamentation  within  the  ability  of  any  cabinet-maker  to  produce.  In 


referring  to  this 
cabinet  in  this  way, 
however,  we  must 
not  be  understood 
to  mean  that  any 
cabinet-maker 
could  produce  its 
duplicate,  for  to  do 
that  would  require 
mechanical  appli- 
ances and  skilled 
workmen  equal  to 
those  commanded 
by  Messrs.  Cooper 
& Holt.  But  a 
cabinet  construct- 
ed in  walnut  or 
oak,  or  in  any 
suitable  wood,  on 
the  lines  of  this 
one,  as  shown  in 
our  engraving, 
would  be  a suc- 
cess. If  the  maker 
could  procure 
painted  panels,  so 
much  the  better, 
provided  they  are 


well  done.  But 
enrichment  of  this 
kind  is  not  neces- 
sary to  produce 
the  pleasing  effect 
conveyed  in  our 
illustration.  The 
beauty  here  is  due 
solely  to  the  grace- 
ful proportions  of 
the  object  as  a 
whole  and  its 
harmonious  out- 
lines. Yet  if  the 
reader  would  have 
a realizing  sense 
of  the  beauty  of 
this  cabinet,  as  it 
appeared  standing 
among  the  other 
exhibits  of  furni- 
ture made  by 
Messrs.  Cooper  & 
Holt,  he  must 
know  that  the 
outlines  of  the 
panels  and  the 
frame-work  eener- 


ally  were  brought  into  relief  and  prominence  by  inlayings  of  ebony  and  white 
wood.  This  added  vastly  to  its  richness  and  made  a fitting  setting  to  the  painted 
panels  which  were  executed  in  the  highest  style  of  the  art.  To  complete  the 


INDUSTRIAL  ART 


413 


effect,  the  shelves  and  recesses 
chosen  orna- 
ments in  faience, 
majolica,  and 
glass,  presuma- 
bly just  such 
articles  as  would 
be  placed  there 
by  the  purchaser 
of  the  cabinet. 

On  page 410  is 
an  illustration  of 
a Faun,  in  Ter- 
ra-Cotta, BY 
Andrea  Boni, 

OF  Milan,  select- 
ed from  the  col- 
lection of  this 
artist’s  work,  ex- 
hibited in  the 
Italian  Court,  in 
the  Main  Build- 
ing, at  the  Cen- 
tennial.  This 
collection  was 
noteworthy  for 
the  excellence 
of  the  material 
used  and  for  its 
uniformly  good 
color.  Even  in 
the  largest  works 

cotta  reproductions  of  metal  or 
originals.  We  have  seen  some 


of  the  cabinet  were  furnished  with  skillfully 

there  was  no  de- 
lect from  shrink- 
age noticeable, 
the  outlines  ap- 
pearing as  clear 
and  sharply  de- 
fined as  in  the 
model.  For  lawn 
and  garden 
adornment  there 
is  nothing  better 
than  these  works 
in  terra-cotta. 
They  are  better 
color  than  mar- 
ble, and  they  do 
not  stain  and 
become  dingy. 
Weather  practi- 
cally has  no  effect 
upon  them,  and 
they  are  light 
and  easily  moved 
from  place  to 
place.  Finally, 
they  cost  very 
much  less  than 
works  in  stone 
or  metal,  and 
with  careful 
modeling,  terra- 
stone  statues  would  be  little  inferior  to  the 
excellent  copies  in  this  material  of  the  best 


Carpet : Templeton  dr’  Co.,  Glasgow. 


Lace  Curtain  : Mahon  blanc,  Paris. 


INDUSTRIAL  ART. 


415 


specimens  of  antique  art.  that  could  be  bought  at  prices  quite  within  the  means 
of  any  one  possessed  of  a lawn  worth  adorning  in  this  way. 

On  page  qii.we  have  an  engraving  of  a Bronze  Candelabrum  selected 
from  the  French  Collective  Exhibit,  which  is  as  excellent  in  its  way  as  the 
Bronze  Chandelier,  manufactured  by  Messrs.  Hart  & Son,  of  London,  shown 
on  page  412.  We  speak  of  these  two  works  together,  because  they  give  an 
excellent  illustration,  each  in  itself,  of  a proper  consideration  of  use  before 
ornament,  and  the  adopting  of  the  latter  to  that  end.  The  Candelabrum,  intended 
as  a support  for  five  candles  in  sockets  set  widely  apart,  has  a short,  strong 


Glass  and  Silver  Centre-piece  : Elkington  6=  Co. 

Stem  resting  upon  a broad  and  firm  base.  The  idea  of  strength,  solidity  and 
weight  is  conveyed  by  the  couchant  lions  and  the  square  pillar.  On  the  other 
hand,  the  Chandelier,  as  something  suspended  from  the  ceiling,  must  be  as  light 
and  graceful  as  possible.  Observe  how  artistically  this  idea  has  been  preserved 
in  its  construction.  The  central  shaft,  or  tube,  is  no  longer  than  is  necessary 
to  convey  the  requisite  amount  of  gas  to  the  four  burners.  These  latter  are 
arranged  about  a circle  of  brass,  ornamented  with  leaves  and  tendrils.  Even 
such  delicate  enrichments  as  those  are  used  sparingly,  to  avoid  any  appearance 
of  overloading  and  weight,  and,  in  order  to  give  an  appearance  of  greater 
security  four  chains,  suspended  from  the  rosette  at  the  ceiling,  are  fastened 
to  this  band. 


4i6 


THE  INTERNATIONAL  EXHIBITION,  1876. 


The  Carpet  illustrated  on  page  413  was  displayed  by  the  manufacturers, 
Templeton  & Co.,  of  Glasgow,  in  their  extensive  exhibit  at  the  Centennial.  The 
centre  is  woven  in  a geometric  pattern  of  dark  colors,  making  an  excellent 
contrast  with  the  border  which  is  more  elaborate  in  design  and  in  which  the  colors 
are  bright  and  clearly  defined  against  a white  or  cream-colored  ground.  In  the 
corners  is  a showy,  ornamental  finish,  suggestive  of  the  designs  which  originated 
in  the  great  French  factories  and  found  immediate  favor  and  many  imitators 
throughout  Europe. 


Glass  and  Silver  Centre-piece : Elkingion  &•  Co. 


Something  quite  novel  and  striking  in  the  way  of  curtain  patterns  is  shown 
in  our  illustration  on  page  414  of  a Lace  Curtain,  from  the  Maison  blanc, 
Paris.  Heretofore  the  curtains  which  we  have  illustrated  have  been  worked  with 
designs  of  flower  and  plant  forms,  mostly  ferns,  treated  in  a more  or  less 
realistic  manner.  Here,  however,  conventionalized  forms  obtain.  On  the  sides 
and  at  the  base  is  an  elaborate  composition  of  scroll  forms,  such  as  French 
designers  excel  in  inventing,  but  the  centre  of  the  curtain  is  patterned  off  with 
curved  lines  running  diagonally  across  each  other,  making  a sort  of  network. 


INDUSTRIAL  ART. 


417 


In  each  compartment  formed  by  these  lines  is  a leaf-shaped  figure  standing- 
out  in  strong  relief  against  the  delicate  fabric  in  which  it  is  worked.  The 
curtain  is  an  example  of  the  astonishing  fertility  of  invention  shown  by  French 
designers  in  repousse  to  the  incessant  demands  of  the  public  for  novelty. 

Two  examples  of  the  fine  work  produced  by  the  Messrs.  Elkington  & Co., 
OF  Birmingham,  are  illustrated  on  pages  415  and  416.  These  Centre  Pieces, 
while  alike  in  general  appearance,  are  sufficiently  unlike  to  make  a separate 
study  of  each  profitable.  Both  are  admirable  examples  of  happy  invention 


Silver  Salver:  Ritter  &•  Co.,  Hanau. 


coupled  with  rare  technical  skill  in  execution.  In  the  first,  two  youthful  Fauns 
crouch  beneath  the  vase,  which  their  fingers  touch,  as  if  balancing  it  on  its 
pedestal  rather  than  supporting  its  weight.  The  poses  of  these  little  figures 
are  charmingly  graceful.  About  the  base,  on  the  pedestal  and  around  the  bowl 
of  the  vase,  are  enrichments  executed  with  that  perfection  of  workmanship  which 
won  for  the  Elkington  exhibit  at  the  Centennial  the  encomiums  of  all  lovers  of 
artistic  work  in  the  precious  metals. 

The  second  piece,  seen  on  page  416,  is  even  more  elaborate  than  the  first. 


4i8 


THE  INTERNATIONAL  EXHIBITION,  1876. 


and  the  medallion  on  the  pedestal  of  the  vase  is  enriched  with  a group  of 
figures  in  relief,  representing  the  Goddess  of  Plenty  playing  with  a cupid. 
These  two  superb  works, — and  they  may  be  considered  as  a pair,  one  for  each 
end  of  the  table, — are  wrought  in  solid  silver,  every  part  being  of  this  precious 
metal,  except  the  engraved  crystal  dishes  which  rest  on  the  vase. 

An  example  of  fine  engraving  on  silver  is  given  in  the  illustration  on  page 
417  of  a Salver,  manufactured  by  Ritter  & Co.,  of  Hanau.  In  the  medallion 
in  the  centre  are  figures  symbolizing  Night  and  Morning,  drawn  with  spirit  and 


Ornamental  Tiles:  Minton,  Hollins  Co.,  London. 


engraved  with  great  technical  skill.  Beneath  and  above  them  are  winged  dragons 
guarding  the  vases,  from  which  emerge  the  plant-forms  that  make  a wreath  the 
central  composition.  Just  within  the  upturned  rim  of  the  salver  is  an  engraved 
border  forming  a frame  for  the  rest  of  the  design.  The  design  here  is  very 
elaborate,  especially  in  the  sides  where  there  are  groups  of  flowers  executed 
with  such  minuteness  and  delicacy  that  they  will  bear  examination  through  a 
magnifying-glass. 

Perhaps  no  better  illustration  of  the  improvement  in  the  art  of  decorative 


INDUSTRIAL  ART. 


419 


design  in  England  in  the  last  quarter  of  a century  can  be  found  than  in  a 
study  of  the  tiles  made  during  that  period.  The  multitude  of  uses  to  which 
these  articles  are  put  at  the  present  time  has  led  to  their  manufacture  in  almost 
endless  variety.  And  as  these  uses  include  in  their  range  all  between  tiles 
designed  for  the  commonest  service  and  those  designed  purely  for  ornament, 


Ornamental  Tiles:  Minion,  Hollins  6^  Co.,  London. 


the  decorative  skill  employed  upon  them  includes  the  draughtsman  of  simple 
geometric  figures  and  the  artist  learned  in  the  use  of  pigments. 

On  pages  418  and  419  are  illustrations  of  Ornamental  Tiles,  selected 
from  the  small  but  choice  display  made  by  Messrs.  Minton,  Hollins  & Co.,  of 
London,  at  the  Centennial.  The  examples  on  page  418  include  specimens  of 
tiles  suitable  for  wall  and  floor  decoration,  as  well  as  finer  grades,  designed  for 
jardinieres,  mantle  ornamentation  and  such  like  purposes.  One  set  of  four  tiles 


420 


THE  INTERNATIONAL  EXHIBITION,  1876. 


is  decorated  with  a pretty  bit  of  painting  after  nature,  representing  a group  of 
water-lilies  and  grasses  and  a brightly  plumaged  bird  darting  down  upon  the 
water. 


The  arrangement  of  the  tile  patterns  on  page  419,  so  as  to  make  a pleasing- 
group,  shows  how  kaleidoscopic,  if  we  may  be  allowed  the  comparison,  are 
the  combinations  which  any  one  can  make  to  suit  his  fancy.  Around  the 


INDUSTRI AL  ART. 


421 


Industrial  Cup ; Elkington  Co.,  London. 


422 


THE  INTERNATIONAL  EXHIBITION,  1876. 


specimens  in  the  middle  of  the  page,  one 
example  of  a conventionalized  flower  and 
hand  in  a thoroughly  artistic  manner. 

On  page  420  we  illustrate  a group  of 
which  attracted  universal 
attention  by  its  novelty 
and  the  excellence  of  its 
construction.  The  name 
by  which  this  style  of 

m 

furniture  is  known 
suggests  the  method 
of  its  manufacture.  A 
strong,  tough-fibered 
wood  like  our  hickory, 
is  thoroughly  seasoned 
and  then  steamed  and 
bent  into  the  required 
shape.  Considerable 


of  which,  by  the  way,  is  an  admirable 
leaf,  is  a frame  of  tiles  decorated  by 

Bent-Wood  Furniture,  from  Vienna, 
ingenuity  and  construc- 
tive skill  is  shown  in 
making  the  several  arti- 
cles which,  as  is  seen 
in  our  engraving  on 
page  420,  are  exceed- 
ingly light  and  graceful 
appearing.  Moreover 
the  several  pieces  are 
astonishingly  strong, and 
the  very  elasticity  of  the 
parts  enables  them  to 
bear  an  amount  of  rough 
usage  that  would  break 


Copies,  in  Bronze,  of  Antique  Statuary  : Italian  Court. 


really  stronger  furniture  all  to  pieces.  This  furniture  is  especially  adapted 
to  use  in  summer-houses,  where  its  lightness  and  coolness  make  it  agreeable 
to  the  eye  and  touch. 

If  the  Messrs.  Elkington  & Co.,  of  Birmingham,  England,  had  made  no 


INDUSTRIAL  ART. 


423 


I 


424 


THE  INTERNATIONAL  EXHIBITION,  1876. 


other  contributions  to  the  Centennial  than  the  Industrial  Cup,  shown  on  page 
421,  the  beauty  of  the  design  and  the  exquisite  workmanship  herein  displayed 


would  have  won 
for  the  manufac- 
turers  a first 
place  among  the 
art-workers  i n 
the  precious 
metals.  Yet  this 
piece  was  but  one 
in  a group  of 
many  others,  pro- 
minent among 
which  were  the 
Helicon  Vase, the 
Milton  Shield, 
and  the  Pom- 
peiian Toilette, 
works  unsur- 
passed in  modern 
times  for  fjenuine 
art  value.  With 
many  of  these 
the  reader  is  ac- 
quainted through 
the  illustrations 
in  these  pages, 
and  we  now  ask 
his  attention  to 
this  Cup  as  equal- 
ly worthy  his  re- 


The  Viking  Vase:  Swedish  Court. 


gard.  The  gene- 
ral form  of  the 
design  may  be 
described  as  a 
flattened  sphere, 
resting  upon  a 
stem  with  bosses 
above  and  sur- 
rounded at  the 
base  with  a group 
of  youthful  genii, 
typical  of  the 
arts.  On  either 
side  of  the  sphere 
or  bowl  are 
female  figures, 
guardians  of  the 
railway  and  tele- 
graph, reclining 
in  such  a way 
that  the  contour 
of  their  bodies 
and  their  uprais- 
ed wings  give 
a gracefully  har- 
monious outline 
to  the  upper  por- 
tion of  the  Cup, 
which  is  sur- 


mounted by  a globe,  on  which  is  a charmingly  poised  figure,  representing  the  Genius 
of  Industry.  On  the  body  of  the  Cup,  on  either  side,  are  large  medallion-reliefs  in 
i'epousse  symbolizing  the  results  of  Industry  in  the  advancement  of  the  world  in 


INDUSTRIAL  ART. 


425 


civilization  and  the  progress  of  the  arts  and  sciences.  The  remaining  surface  is 
covered  with  scrolls  and  emblems  in  low  relief,  all  illustrative  of  the  general 
design.  The  modeling  of  the  detached  figures,  and  there  are  seven  in  all,  is  simply 
perfect;  the  two  principal  ones,  upon  the  sides  of  the  bowl,  being  endowed  with 


Silver  Lpergne  : Reed  Barton,  Tau?iton,  Mass. 


an  expression  and  individuality  worthy  of  all  praise.  In  technical  execution,  this 
work  leaves  nothing  to  be  desired.  Every  detail  is  wrought  with  care  and 
finish.  The  rendering  of  the  texture  of  the  skin  on  the  nude  surface  of  the 
figures,  the  drapery,  and  of  the  feathers  in  the  wings  are  admirable.  To 
appreciate  the  delicate  manipulation  that  produced  these  effects,  the  work  should 


Silver-plated  Tea  Service  ■■  Teed  Barton,  Taunton,  Mass, 


INDUSTRIAL  ART. 


427 


be  studied  by  the  aid  of  a magnifying-glass.  In  consideration  of  these  elabo- 
rate excellencies,  this  Cup  may  well  be  placed  with  the  group  named  in  the 
beginning  of  this  description,  as  one  of  the  chefs-d'veuvre  of  the  Elkington 
exhibit. 

The  Bronze  exhibit  in  the  Italian  Court  was  scarcely  such  as  the  reputa- 
tion of  the  Italians  for  art-works  in  this  metal  would  lead  us  to  expect ; but 
such  as  it  was,  the  collection  could  not  fail  of  interest  on  account  of  the  numerous 


Silver-plated  Tea  Service:  Reed  Barton,  Taunton,  Mass. 


reproductions  of  ancient  statuary  of  world-wide  fame  which  it  contained.  Two 
of  these,  which  the  reader  will  recognize  as  the  Spinario  and  the  Dying 
Gladiator,  are  engraved  on  page  422.  They  are  of  a size  suitable  for  cabinet 
ornaments,  and  are  wrought  in  green  bronze,  which  many  prefer  to  the  lustrous 
copper-tinged  metal.  Of  course  it  is  unnecessary  to  speak  here  of  the  merits 
of  the  statues  themselves.  Their  worth  is  known  to  every  student  of  art,  and 
in  these  bronzes  we  have  a miniature  reproduction  of  the  originals,  in  which 
every  line  is  preserved  with  scrupulous  accuracy.  Indeed  the  technical  execution 


428 


THE  INTERNATIONAL  EXHIBITION,  1876. 


of  the  work  is  one  of  its  chief  excellencies,  recommendincr  it  to  the  attention 
of  connoisseurs  wherever  these  statuettes  are  seen. 

One  of  the  most  elaborate  articles  of  the  remarkable  glass  exhibit  of 
Messrs.  Lobmeyer,  of  Vienna,  is  shown  in  the  engraving  on  page  423,  which 
contains  several  other  specimens  of  the  work  of  this  lamous  firm.  The  piece 
referred  to  is  the  engraved  Crystal  Vase,  on  the  left  of  the  page,  which,  together 
with  the  Dish  in  which  it  stands,  are  superb  examples  of  the  highest  art-work- 
manship in  this  branch  of  manufacture.  The  vase  consists  of  two  parts,  a bowl  and 
cover,  both  covered  with  engraved  garlands  and  scroll-work,  charmingly  designed 
and  engraved  with  marvelous  skill.  The  cover  is  surmounted  by  a crown  and 


a pair  of  cupids 
holding  a shield 
with  the  arms  ol 
Austria.  The  fig- 
ures of  the  cupids 
are  of  white  glass, 
but  the  shield 
bears  its  appropri- 
ate colors  and  the 
crown  blazes  with 
jewels.  There  is 
color  also  in  the 
radiated  decora- 


Pitchers  of  Lambeth  Faience  : Doutton  Co. 


tion  about  the 
bottom  of  the 
bowl,  and  the 
raised  garlands 
of  flowers  on  the 
stem.  These,  in 
contrast  with  the 
crystal  and  the 
delicate  engrav- 
ing,  give  an  ex- 
tremely rich  and 
splendid  effect. 

Of  the  other 


pieces  shown  in  the  engraving  on  page  426,  the  vase  on  the  right  is  interesting 
as  an  excellent  imitation  of  one  of  those  curious  antique  vessels  in  transparent 
tinted  glass,  enameled  over  its  surface  with  arms  and  quaint  devices  in  threads 
and  dots  of  bright  color.  Good  specimens  of  this  old  ware  are  rare  and  valuable, 
but  only  an  expert  could  detect  a difference  from  the  original  in  one  of  these 
clever  copies. 

• The  remarkable  collection  of  artistic  pottery  and  porcelain  in  the  Swedish 
Court  at  the  Centennial,  attracted  the  admiring  attention  of  every  one  interested 
in  this  subject.  It  was  undoubtedly  the  most  comprehensive  exhibit  of  the  kind 
in  the  exhibition,  and  the  only  one  worthy  of  being  called  a representative 
display.  Moreover,  it  was  the  only  exhibit  that  contained  any  novelty  in  this 


INDUSTRIAL  ART. 


429 


important  branch  of  industry.  In  the  collection  were  some  specimens  of  a ware 
manufactured  by  Gustafsberg,  of  Stockholm,  called  Argentina,  in  which  silver 
had  been  successfully  applied  as  a finish  to  porcelain.  On  some  of  the  pieces 
the  entire  surface  was  covered  with  the  metal,  which  was  afterwards  polished. 
The  only  indication  that  these  articles  were  not  solid  silver  was  their  lighter 
weight.  On  others  the  silver  was  used  to  produce  a “dead”  surface,  for  deco- 
rative purposes  in  conjunction  with  color,  and  here  the  beauty  of  the  invention 
was  manifest.  In  order  to  show  the  capabilities  of  the  process  to  the  best 
advantage,  M.  Gustafsberg  had  prepared  an  Argentina  Vase,  which  we  engrave 


Majolica  Lpergne : Daniel  Son,  London. 


on  page  424.  It  is  a work  of  the  highest  artistic  merit,  worthy  of  rank  among 
the  chefs-d'(£UV7'e  of  the  Exhibition.  In  shape  it  corresponds  to  the  ancient 
sepulchral  urn  of  a Norse  warrior;  one  of  that  race  of  Vikings  whose  sagas 
tell  of  conquests  beyond  the  seas,  when  the  rest  of  Europe  was  ignorant  of 
the  existence  of  another  continent.  Around  the  bowl  of  the  vase  is  a series 
of  nineteen  medallions,  telling  the  story  of  the  hero’s  life,  in  a quaint  yet 
eloquent  language,  more  intelligible  than  words.  Beginning  with  the  ceremonies 
attending  his  birth,  we  see  portrayed  his  early  life,  his  instruction  in  the  use 
of  implements  of  war,  his  initiation  into  the  stern  reality  of  war  and  his 


430 


THE  INTERNATIONAL  EXHIBITION,  1876. 


departure  on  some  voyage  of  conquest.  Here  are  the  scenes  of  revelry  on 
his  return,  the  sacrifice  of  thanksgiving  to  his  gods,  his  marriage,  and  the 
homage  of  his  followers,  his  death  on  the  battle-field,  his  funeral  pyre,  and  the 
monument  marking  his  final  resting-place.  As  handles  to  the  vase  we  have  the 
dragons  of  his  mythology,  and  the  mysterious  knotted  bands,  and  the  knot  of 
Thor  also  are  introduced  in  the  ornamentation.  The  dimensions  of  this  vase 
are  twenty-four  inches  in  height  by  fifteen  inches  diameter  of  bowl.  In  the 


Ornamental  Iron  Work  : Swedish  Court. 


decorative  treatment  the  porcelain  body  is  finished  by  the  process  before  named, 
with  a deadened  silver  surface.  The  medallions  are  outlined  in  light  blue  upon 
a buff  ground.  The  dragons,  the  bands  and  the  other  decorations  are  outlined 
in  black  or  white  on  the  buff  ground,  picked  in  here  and  there  with  vermilion. 
The  contrast  of  color  is  strong,  and  gives  strength  to  the  design,  which  has 
all  the  vigor  characteristic  of  the  art-work  of  Northern  Europe.  But  its  unique 
excellence  is  the  exquisitely  soft  and  rich  texture  of  the  silvered  surface,  so 
admirably  contrasting  with  the  decoration. 


INDUSTRIAL  ART. 


431 


Carved  Cabinet : Italian  Court. 


On  pages  426  and  427  we  engrave  a Silver-Plated  Tea-Service,  manu- 
lactured  by  Reed  & Barton,  of  Taunton,  Mass.  The  set  comprises 


seven 


432 


THE  INTERNATIONAL  EXHIB ITION,  1876. 


pieces,  of  which  the  urn  with  its  lamp  and  stand  is  the  central  figure.  This 
service,  in  design  and  execution,  is  quite  equal  to  anything  of  the  same  character 
that  is  produced  in  the  solid  metal.  All  the  raised  ornamentation,  consisting 
of  various  kinds  of  flowers  and  plants,  is  finished  with  scrupulous  care.  There 
is  hardly  an  inch  of  the  whole  surface  of  the  vessels  that  is  not  thus  ornamented. 
The  workmanship  is  of  the  best.  Each  flower-petal  and  veined-leaf  shows 
careful  study,  and  the  composition  of  the  group  evidences  artistic  skill  of  a high 
order  of  excellence.  In  short,  between  this  service  and  another  made  of  solid 


silver,  there  is  no  difference  at  all  in  art  quality.  The  one  is  just  as  beautiful 
as  the  other,  and  of  course,  the  difference  in  cost  is  largely  in  favor  of  the 
plated  ware. 

The  demand  for  painted  faience,  in  England,  especially,  but  also  in  other 
nations,  in  place  of  the  so-called  majolica,  has  greatl)'  stimulated  its  production, 
an’d  we  see  the  results  of  the  new  departure  in  the  several  wares  manufactured 
by  the  great  potters  of  England  and  France,  such  as  Doulton  and  Haviland. 
Doulton’s  faience,  which  must  not  be  confused  with  the  Doulton  ware,  a totally 
different  affair,  was  on  the  whole  the  most  satisfactory  indication  of  the  progress 
of  Enaland  in  the  direction  of  true  artistic  feeling  and  methods  made  in  the 


INDUSTRIAL  ART. 


433 


Carpet:  James  Templeton  Co.,  Glasgow,  Scotland. 


434 


THE  INTERNATIONAL  EXHIBITION,  1876. 


pottery  exhibit  from  Great  Britain.  The  plaques,  platters,  vases,  ewers  and  tiles 
of  painted  faience  exhibited  by  this  firm  were  beautiful  specimens  of  vigorous 
drawing,  strong,  warm  color,  and  generally  fine  effects.  Some  of  the  figure- 
paintings  and  landscapes  are  simply  wonderful  when  we  consider  that  the  artist 
was  limited  in  his  scale  of  colors  to  the  few,  comparatively,  that  would  stand 
the  firing  necessary  to  finish  the  work.  For  it  must  be  remembered  that  Doulton 
faience  is  glazed  after  the  painting,  a very  different  matter  from  the  reverse 
process,  which  is  about  the  same  thing  as  painting  on  glass  or  any  lustrous 
surface  without  limitation  in  the  use  of  color.  Undoubtedly,  finer  chromatic 
effects  can  be  produced  in  the  latter  way,  but  the  articles  thus  painted  must 
be  designed  purely  for  ornament,  as  they  cannot  stand  much  handling  or  wear. 
Painting  under  the  glaze,  however,  if  properly  executed,  will  last  as  long  as  the 
clay,  on  which  the  colors  are  laid,  holds  together.  In  other  words,  it  is  impervious 
to  the  action  of  water  or  air.  On  page  428  we  illustrate  two  examples  of 
Doulton  faience,  decorated  with  floral  designs,  painted  directly  on  the  clay.  The 
work  shows  breadth  and  skill  of  drawing  and  much  refinement  of  coloring. 
In  comparison  with  the  imitation  majolica  sculptured  and  painted  work,  which 
these  wares  are  rapidly  superseding,  the  artistic  value  of  Doulton  faience  is 
infinitely  superior. 

We  would  not,  however,  be  understood,  in  the  foregoing  remarks,  to  condemn 
majolica  as  a vehicle  for  artistic  expression.  On  the  contrary,  when  properly 
and  artistically  treated,  it  gives  most  satisfactory  results.  Our  criticism  is  directed 
against  those  cheap  and  meretricious  ornaments,  mostly  sculptured,  passing  by 
the  name  of  majolica,  that  were  popular  some  years  ago,  because  the  colors 
were  bright  and  shiny,  and  the  sculpture  more  or  less  novel  or  grotesque.  As 
an  example  of  a thoroughly  good  design  in  majolica  and  an  evidence  of  its 
excellence  for  ornamental  purposes  when  treated  in  an  intelligent  manner,  we 
illustrate  on  page  429  a Majolica  Epergne,  exhibited  at  the  Centennial  by 
the  Messrs.  Daniels  & Son,  of  London,  whose  display  for  variety  and  choice 
specimens  of  the  potter’s  art  in  its  several  higher  branches,  stood  quite 
unrivaled.  The  most  noticeable  feature  in  this  work,  considering  its  artistic 
merit,  is  the  modeling  of  the  two  figures,  the  Satyr  and  Naiad,  grouped  on 
either  side  of  the  stem  of  the  dish.  They  are  splendid  in  pose  and  expression 
and  are  perfectly  finished,  down  to  the  minute  details  of  features,  hair,  etc.  The 


INDUSTRIAL  ART. 


435 


skin  texture  and  the  coloring  are  largely  dependent  on  the  technical  execution 
and  the  skill  with  which  the  several  processes — which  the  work  undergoes  after 
leaving  the  hands  of  the  artist — are  conducted  by  the  workmen.  Herein,  too, 


Silver  Tea  Sets  : Christesen , Copenhagen, 


we  have  evidences  of  skillful  manipulation,  and  in  the  brilliancy  of  the  colors 
as  well  as  in  the  combination  of  rare  tints  we  see  to  what  an  extent  science, 
in  discovering  new  ceramic  pigments,  has  aided  the  potter. 

The  Ornamental  Iron  Work  in  the  Swedish  Court  at  the  Centennial, 
attracted  attention,  both  by  the  excellence  of  the  iron  itself  and  the  high  degree 


436 


THE  INTERNATIONAL  EXHIBITION,  1876. 


of  artistic  skill  manifested  in  working  it.  Our  engraving  on  page  430  illustrates 
one  of  the  most  notable  examples  in  the  display.  The  design  for  the  centre 
is  bold  and  spirited,  and  drawn  with  a free,  vigorous  hand.  In  the  execution 
of  the  detail  the  same  freedom  of  touch  and  avoidance  of  everything  useless 
and  trivial  is  seen  ; the  work  being  done  apparently  as  easily  as  if  the  material 
was  as  soft  and  yielding  as  wood. 

The  Carved  Cabinet,  illustrated  on  page  431,  is  another  specimen  of  the 
fine  display  of  artistic  wood-work  made  by  the  Italian  Commission  in  their 


Silver  Casket : Zimmerman , Hanau. 


Court  at  the  Centennial.  The  purely  classic  outline  of  this  beautiful  piece  of 
furniture  and  the  elegance  of  the  ornamentation  recommend  it  at  once  to  the 
admirer  of  fine  cabinet  work.  The  cabinet  may  be  described  as  consisting  of 
two  parts,  the  lower  divided  into  the  three  principal  panels,  each  of  them  orna- 
mented with  carving  in  low  relief.  In  the  central  panel  is  a charmingly  posed 
draped  female  figure,  representing  the  Genius  of  Poetry.  On  to  her  shoulder 
has  just  flown  a little  cupid,  and,  poised  there,  he  appears  to  be  whispering  an 
inspiration  in  her  ear.  Framing  this  group  are  smaller  panels  ornamented  by 
delicately  carved  scrolls  and  garlands.  The  principal  ornamentation  in  the  side 
panels  are  medallions,  with  finely  carved  busts  executed  in  low  relief.  In  the 
central  portion  of  the  upper  half  of  the  Cabinet  is  a large  sheet  of  glass, 


INDUSTRIAL  ART. 


437 


placed  there  to  expose  to  view  the  ornaments  within,  which  it  protects.  On 
either  side  are  splendid  specimens  of  carving,  representing  ornamental  niches 
or  recesses  in  which  stand  statues  typical  of  music  and  painting.  The  upper  part 
of  the  Cabinet  is  ornamented  with  a frieze,  bearing  an  escutcheon  for  arms,  and 


the  top  is  finished  with 
an  arch  broken  in  the 
centre,  to  give  place  to 
a vase  and  pedestal. 

On  page  432  is  an 
engraving  of  another 
charming  work, a Bronze 
Jardiniere,  from  the  col- 
lection exhibited  by  M. 
Luton,  of  Paris,  The 
vase  itself  is  in  the  shape 
of  an  ancient  cistern,  or- 
namented with  panels, 
enriched  with  scroll- 
work and  medallion 
heads  in  relief.  A happy 
conceit  has  placed  two 
winged  cupids  on  either 
side  of  the  vessel,  bind- 
ing it  about  with  a gar- 
land of  laurel.  The  pose 
of  these  little  figures  is 
graceful  and  spirited,  the 
very  embodiment  of  glee. 
In  technical  execution  the 


Silver  Perfume-Box : Ritter  &•  Co.,  Hanau. 


finish  of  this  work  leaves 
nothing  to  be  desired. 

In  the  Scotch  Carpet, 
made  by  James  Temple- 
ton & Co.,  OF  Glasgow, 
illustrated  on  page  433, 
we  see  the  influence  of 
that  French  taste  formed 
in  the  splendid  schools 
of  decorative  and  orna- 
mental design  established 
by  Corbet — the  Gobelins 
and  Sevres — which  swept 
like  a wave  over  Europe 
and  into  England.  The 
love  of  magnificence  and 
display  in  which  one 
Louis  exceeded  another 
was  ministered  to  in 
these  great  factories  by 
every  art  that  the  inge- 
nuity of  man  could  de- 
vise and  money  purchase. 
The  people,  attracted  by 
the  glitter  and  brilliancy 


of  the  age,  threw  aside  the  simple  forms  of  the  Renaissance  and  of  classic 
antiquity,  and  sought  to  imitate  in  their  humbler  abodes  the  splendor  of  the 
court.  Manufacturers  caught  the  infection  and  strove  to  excel  each  other  in 
the  production  of  novelties  that  should  surpass,  in  richness  of  design  or  elabo- 
rateness of  ornament,  anything  previously  produced.  The  style  named  after 


438 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Louis  Quartorze  is  perhaps  the  highest  expression  of  this  new  order  of  things. 
Never  before  had  the  mere  enrichment  of  articles  been  carried  to  such  an 
excess,  and  since  that  time  various  causes  have  contributed  to  its  abandonment. 
The  influence  of  the.  Gobelins  on  designs  for  textiles  was  especially  marked, 
and  in  the  foliated  scroll-work,  the  bouquets  of  flowers,  medallions  with  por- 
traits, trophies,  musical  instruments,  etc.,  and  the  pictorial  treatment  of  carpet 
patterns  so  common  in  all  parts  of  the  world  to-day,  we  can  trace  this  influence. 

In  the  example  before  us,  which  doubtless  is  an  original  design,  the  designer 
has  caught  the  true  French  feeling,  and  giving  loose  to  his  fancy,  has  decorated 
the  material  with  lavish  richness.  The  middle  ground  of  his  carpet  is  strewn 
with  a delicate  tracery  of  flower-sprays  interwoven  with  foliated  scrolls.  Within 
the  border,  which  is  as  strongly  outlined  as  the  cornice  around  a ceiling,  are 
garlands  and  heaps  of  flowers ; and  about  the  outer  edge,  like  a fringe,  is  a 
rope  of  ivy.  Midway  of  the  sides  are  medallions  wreathed  with  flowers,  con- 
taining groups  of  musical  instruments.  The  reader  can  see  for  himself  the 
varied  richness  of  these  several  combinations  of  design  which  literally  strew 
flowers  before  one’s  feet. 

The  novel  forms  and  the  original  styles  of  ornamentation  displayed  in  the 
goldsmith-  and  silversmith-work  of  Denmark,  made  the  Danish  exhibit  of  art- 
work in  the  precious  metals  unusually  interesting.  On  page  435  we  engrave, 
as  notable  examples  of  this  silversmith-work,  two  Tea  Sets,  made  by  Chris- 
TESEN,  OF  Copenhagen.  The  ornamentation  of  the  articles  in  the  first  group  is 
of  very  varied  character.  The  water-urn,  engraved  with  classical  figures  and 
modeled  in  swelling  curves,  is  balanced  between  a pair  of  Sphynxes,  drawn  with 
all  the  severity  of  outline  of  the  Egyptian  originals.  A swan  forms  the  knob 
to  the  lid  of  the  vessel,  and  is  matched  by  similar  devices  in  the  other  pieces. 
Indeed,  wherever  there  is  a point  or  angle,  a mask  or  grotesque  head,  or  some- 
thing of  that  kind,  is  placed  there  as  a finish  to  the  work.  The  same  general 
remarks  apply  to  the  second  service,  though  the  enrichment  of  this  set  is  even 
more  elaborate  than  the  former.  The  pattern  on  the  sides  of  the  vessel  is 
different,  bands  and  scroll-work  being  selected  instead  of  figure-subjects. 

Seme  of  the  most  interesting  art-workmanship  in  the  German  section  of 
the  Exhibition  came  from  Hanau,  in  Hessen-Nassau.  Although  the  population 


INDUSTRIAL  ART 


439 


of  the  town,  including  the  suburbs,  is  not  more  than  fifteen  thousand,  it  has 
manufactories  of  silk  stuffs,  carpet,  cotton  fabrics  and  other  textiles,  gold  and 
silver  articles,  and  porcelain,  which  are  second  to  but  few  in  the  empire  for  the 
quality  and  artistic  excellence  of  the  work  produced.  A reason  for  this  excel- 
lence can  be  found  in  the  admirable  schools  of  art-education  which  have  long 
been  established  here,  supplying  trained  and  accomplished  workmen  in  the 
several  art-industries. 

On  page  436  we  illustrate, -as  an  example  of  Hanau  silversmith-work,  the 
top  of  a Silver  Casket,  made  by  Zimmerman,  of  that  place.  The  design  is 
graceful  and  pretty,  and  not  over  elaborate.  The  central  panel  is  particularly 
excellent  for  its  well-balanced  figure.  But  aside  from  the  skill  evinced  in  the 

o 

design,  the  casket  deserves  attention  for  the  fine  and  workmanlike  manner  in 
which  it  is  made,  showing  a skillful  use  of  the  hammer,  the  chisel  and  the 
graver’s  tool. 

On  page  437  we  engrave  another  example  of  Hanau  silversmith-work,  the 
subject — a Silver  Perfume-Box — being  one  selected  from  the  exhibit  made  by 
Ritter  & Co.,  of  that  town.  In  shape,  in  decorative  and  ornamental  treat- 
ment and  in  workmanship,  this  dainty  little  object  is  worthy  of  great  praise. 
The  reader  should  observe  how  each  detail  of  the  enrichment  contributes  to 
the  harmony  and  completeness  of  the  object  as  a whole,  and  how  perfectly  the 
several  parts  of  the  work  are  proportioned.  It  is  an  object  that  fills  and 
satisfies  the  eye  at  the  first  glance,  and  invites  a more  careful  examination  of 
its  elaborate  excellencies.  Each  part  can  be  studied  separately:  the  lid  of  the 
box,  with  its  admirably  grouped  swans ; the  simple  yet  elegant  bands  sur- 
rounding the  body  of  the  vessel ; the  charming  little  figures  who  make  merry 
with  the  cap  and  bells  of  Mirth  and  the  mask  of  Tragedy;  the  vigorous 
modeling  of  the  lions’  heads,  bound  by  the  jaws  around  the  stem,  and  the 
plain  ornamentation  of  the  foot,  conveying  a sense  of  strength  by  its  very 
simplicity  and  precision  of  outline. 

With  the  peace  that  followed  the  departure  of  the  French  from  Italy  about 
the  beginning  of  the  sixteenth  century,  came  the  opportunity  for  the  develop- 
ment of  the  Renaissance  art.  Its  study  was  entered  into  with  enthusiasm,  and 
received  the  encouragement  and  patronage  of  the  princes  of  the  land.  The 
search  for  classical  remains  brought  to  light  many  superb  examples  on  which 


440 


THE  INTERNATIONAL  EX  H I B I T I O N,  1 8 j 6. 


Carved  Walnut  Cabiuet : Italian  Court. 


INDUSTRIAL  ART. 


441 


Glass  Vase  and  Epergne  : Lobmeyr,  Vienna. 


442  THE  INTERNATIONAL  EXHIBITION,  i8y6. 


the  styles  were 
founded.  The 
carved  furniture 
and  wood-work 
of  this  period 
have  never  been 
excelled.  The 
best  artists  of 
the  day  were  not 
unwilling  to  ex- 
ercise their  skill 
in  this  direction, 
and  the-  exquis- 
itely ornamented 
chests  and  sculp- 
tured panels  of 
the  cinque  cento 
preserved  in  the 
museums  and 
palaces  of  Eu- 
rope attest  to 
this  day  the  sur- 
passing skill  of 
the  workmen. 

In  early  me- 
diaeval or  Gothic 
art  there  was  a 
certain  conven- 
tionality in  the 
convolutions  of 
foliated  sculptu  re 
and  other  orna- 
mental work 
adorning  furni- 


Furniture  Silk : Collective  Exhibit  of  Saxony. 


ture,  which  was 
afterwards  ab- 
sorbed in  the 
more  purely  ar- 
chitectural types 
that  obtained  in 
the  quatro  cento, 
or  fifteenth  cen- 
tury, period.  In 
the  best  period 
of  the  Renais- 
sance it  does  not 
appear  at  all ; 
but  later,  when 
what  should  have 
remained  purely 
architectural  fea- 
tures were  im- 
parted to  fur- 
niture, making 
cabinets  like 
mimic  temples, 
etc,,  which  re- 
quired joinery 
construction  oth- 
erwise useless 
and  unnecessary 
in  such  articles, 
the  mediaeval  or- 
namentation was 
revived  and 
grafted  on  to 
arabesque  orna- 
ment, which  in 


INDUSTRIAL  ART. 


443 


turn  surpassed  all  previous  styles  in  the  richness  and  variety,  if  not  in  the 
excellence,  of  its  designs.  Still  later,  when  the  decadence  of  art  is  most 
manifest,  we  find  the  several  styles  hopelessly  confused,  and  articles  of  furniture 
in  which  the  designer’s  principal  aim  seems  to  have  been  to  get  as  much  and 


as  many  varieties 
of  ornament  into 
a given  space 
as  his  ingenuity 
could  devise.  To 
any  one  familiar 
with  the  vigor- 
ous simplicity  of 
the  early  Gothic 
ornamentation, 
where  every 
line  is  traceable 
through  the  in- 
tricacies of  its 
convolutions  as 
having  a definite 
end  and  purpose, 
the  lavish  enrich- 
ment merely  for 
the  sake  of  en- 
richment looks 
poor  indeed. 

Of  late  years, 
however,  Italy, 
like  the  rest  of 


Cut-Glass  Decanter : James  Millar  Co.,  Edinburgh. 


Europe,  has  ex- 
perienced an- 
other art-revival, 
and  is  seeking,  by 
intelligent  study 
of  the  best  ex- 
amples, to  restore 
her  art-workman- 
ship to  its  former 
purity  and  excel- 
lence. To  how 
well  she  is  suc- 
ceeding in  this 
endeavor,  the  ex- 
cellent exhibit 
made  by  her  art- 
ists in  manufac- 
tures in  the  Ital- 
ian Court  at  the 
Centennial  bore 
ample  testimony. 
In  no  one  depart- 
ment of  indus- 
trial art  was  this 
more  apparent 


than  in  that  of  wood-carving.  The  examples  sent  were  many  of  them  simply 
superb  works  of  sculpture.  Our  readers  already  are  familiar  with  a number 
of  the  choicest  specimens,  to  which  list  must  now  be  added  the  Carved  Walnut 
Cabinet,  illustrated  on  page  440. 

The  front  of  this  cabinet  consists  of  three  panels,  separated  by  columns 


444 


THE  INTERNATIONAL  EXHIBITION,  1876. 


wreathed  with  vines  carved  in  full  relief.  The  panels  are  enriched  with  designs 
of  great  elaborateness  and  beauty,  containing  cupids,  trophies,  scrolls,  and  urns 
in  harmonious  composition.  In  the  frieze  above  the  panels  are  sprays  of  vine- 
leaves  exquisitely  exact  in  their  resemblance  to  nature.  A curvilinear  design, 
some  four  inches  broad,  is  carved  around  the  base  of  the  cabinet,  on  the  front 


and  sides.  At  the 
two  outer  corners 
are  caryatides,  exe- 
cuted with  a breadth 
and  freedom  rarely 
attained  in  wood- 
sculpture.  In  the 
ends  are  panels  sim- 
ilar in  desicjn  to 
those  in  the  front. 
About  the  feet,  at 
the  corners  of  the 
frieze,  and  at  every 
point  of  prominence 
in  the  construction 
of  this  superb  piece 
of  furniture,  are  carv- 
ings in  higher  or 
lower  relief,  and  of 
greater  or  lesser  de- 
gree of  elaborate- 


Pulpit  : Hart,  Son  Peard,  London. 


ness,  according  to 
position. 

The  art  of  blow- 
ing glass,  brought  by 
the  Venetians  to  the 
highest  state  of  per- 
fection, was  known 
to  the  Egyptians  and 
Phoenicians,  and  ex- 
tensively practised 
by  the  Romans.  In- 
deed, the  countless 
fragments  of  Roman 
glass  that  are  found 
show  that  these  last- 
named  were  ac- 
quainted with  most 
of  the  methods 
known  to  modern 
manufacturers,  and 
some  of  their  work. 


as,  for  example,  mosaic  or  mille  fiori,  has  never  been  surpassed.  Whether  the 
famous  murrhine  wine-cups,  believed  to  have  the  faculty  of  breaking  if  poison 
was  mixed  with  the  drink,  were  made  of  glass  or  from  some  mineral,  like 
fluor-spar,  has  never  been  determined ; but  there  is  no  reason  to  doubt  the 
statements  of  Latin  writers  describing  columns  of  glass  of  ten  and  fifteen  feet 
in  height.  The  beautiful  iridescent  glass  so  common  in  ancient  fragments,  and 
so  beautifully  imitated  in  modern  times,  is  simply  the  result  of  decomposition 
of  the  surface. 


INDUSTRIAL  ART. 


445 


With  the  Venetians,  however,  the  art  of  glass-making  was  elaborated  into 
numberless  processes,  many  of  which,  in  their  details  by  which  such  sur- 
prisingly beautiful  designs  were  obtained,  are  now  unknown  to  us.  Perhaps 
the  chief  beauty  of  Venetian  glass  to  the  art-lover  is  the  appreciation  mani- 
fested by  the  workmen  of  the  true  quality  of  the  material  which  he  manipulated. 
Worked  in  a fused  or 
liquid  state,  the  com- 
pound hardens  by  cool- 
ingf  into  a brittle,  non- 
crystalline  substance. 

By  blowing,  a marvelous 
degree  of  tenuity  can 
be  obtained,  and  by  the 
use  of  metallic  oxides 
the  substance  can  be 
colored.  Vitreous  enam- 
els can  be  fastened  to 
the  surface,  or  threads 
of  color  be  incorpo- 
rated in  the  substance. 

In  all  these  methods  of 
ornamentation,  the  true 
nature  of  glass  is  re- 
garded, and  it  is  only 
in  more  modern  times 
that  the  attempt  to  cut 
in  richness  by  the  splendid  examples  of  color  shown  by  M.  Lobmeyr.  His 
enamels  were  particularly  brilliant,  and  his  iridescent  glass  radiates  from  its 
surface  all  the  colors  of  the  rainbow.  Wonderful  skill  was  also  shown  in  the 
exquisite  designs  either  engraved  by  the  wheel  or  eaten  in  with  acid.  Some 
of  these  engravings  were  on  glass  so  thin  that  the  marvel  was  how  it  resisted  the 
pressure  necessary  to  chase  the  surface.  Another  variety  was  gorgeous  in 
enamels  and  gilding  and  embossed  surfaces,  and  it  is  from  this  class  that  we 
have  selected  the  two  pieces,  a Vase  and  an  Epergne,  illustrated  on  page  441. 


Eagle  Lectern  : Hart,  Son  Peard .^London. 


it  in  imitation  of  crystal 
has  been  resorted  to. 

In  the  collection  of 
Ornamental  Glass,  ex- 
hibited by  M.  Lobmeyr, 
OF  Vienna,  at  the  Cen- 
tennial, the  visitor  was 
treated  to  a view  of  a 
perfect  museum  of 
specimens  of  this  beau- 
titul  art,  including  ex- 
amples imitatingancient 
wares,  and  illustrations 
of  new  processes  dis- 
covered— or  perhaps  we 
should  be  nearer  the 
truth  if  we  said  old 
processes  rediscovered 
by  the  manufacturer. 
The  famous  ruby  glass 
of  Potsdam  was  rivaled 


THE  INTERNATIONAL  EXHIBITION,  1876. 


446 


They  are  re- 
splendent in 
the  rich  ruby 
color  spoken 
of  above,  and 
as  ornaments 
to  a drawing- 
room or  din- 
ner-table could 
hardly  be  sur- 
passed in  ef- 
fectiveness. 

On  page  442 
we  engrave  an 
exam[)le  of 
h'  LM<  N I T U R E 

Silk,  from  Sax- 
ONV,  selected 
from  the  Col- 
lective Exhibit 
of  textiles 
made  by  that 
nation  at  the 
Centennial — a 
collection,  by 
the  way,  in 
every  respect 
creditable,  and 
particularly 
evidencinor  the 

O 

artistic  skill  of 


Lace  Curtain  : Hey  man  Alexander,  Nottingham. 


the  Saxon  arti- 
sans. The  spe- 
cimen shown  in 
our  illustration 
treats  a well- 
known  method 
of  design  with 
vigor  and' 
grace,  and  in 
the  blending 
of  color,  which 
cannot  be 
shown  in  an 
engraving,  a 
most  harmoni- 
ous effect  ha^; 
been  obtainc-d. 

The  C u 1- 
Glass  Decan- 
ter, illustrated 
on  page  443,  is 
selected  from 
the  fine  exhibit 
of  glassware 
made  by  James 
Millar  & Co., 
OF  Edinburgh, 
in  the  English 
Court  at  the 
Centennial. 
Scotch  glass  is 


famous  for  its  quality,  and  Scotch  crystal  glass  especially  has  great  clearness  and 
brilliancy.  The  engraving  with  which  it  is  decorated  heightens  this  effect  by 
contrast  with  the  clear  portions  of  the  surface,  and  the  angles  produced  by 


INDUSTRIAL  ART. 


447 


cutting  increase  the  brilliancy.  The  form  of  the  Decanter  illustrated  is  particu- 
larly graceful  and  well  proportioned. 


If  any  one  desired  a practical  illustration  of  the  results  of  industrial-art 
education  in  England,  they  had  it  in  full  measure  at  the  Centennial  Exhibition. 


448 


THE  INTERNATIONAL  EX  II I B IT  I ON,  1876. 


In  the  Paris  Exposition  England  surprised  the  world  by  coming  suddenly  to 
the  fore  among  the  nations  of  Europe  with  her  exhibit  of  decorative  and  orna- 
mental workmanship,  and  again  at  Vienna  she  won  renown ; but  her  best 
achievements  in  these  lines,  taking  the  exhibit  as  a whole,  were  seen  at  the 
Centennial.  Our  pages  have  already  been  enriched  with  illustrations  of  the 
triumphs  of  English  manufactures  in  artistic  pottery,  glass,  metal-work,  textiles, 
paper-hangings,  and  furniture,  all  traceable  directly  or  indirectly  to  the  influence 


Iron  Bedstead : Peyton  6^  Peyton,  London. 


of  South  Kensington  with  its  superb  museum  and  its  admirable  training-schools. 
Another  example,  showing  in  every  line  and  detail  of  construction  and  enrich- 
ment the  result  of  this  education,  is  shown  in  the  Pulpit  manufactured  by 
Hart,  Son  & Peard,  of  London,  which  we  engrave  on  page  444.  Simple  in 
outline,  admirably  proportioned,  the  ornament  in  harmony  with  the  general 
design  and  admirably  wrought,  nothing  superfluous  or  weak  in  the  enrichment, 
these  are  amonsf  the  characteristics  of  this  excellent  work. 

The  Eagle  Lectern,  of  which  we  give  an  illustration  on  page  445,  is 
a notably  fine  example  of  the  artistic  and  highly  finished  ecclesiastical  fur- 
niture which  the  Messrs.  Hart,  Son  & Peard  make  a specialty  of  manufac- 


INDUSTRIAL  ART 


449 


Se'vrei  Vasti  : French  Court. 


450 


THE  INTERNATIONAL  E X II I B IT  1 0 N,  1 8 76. 


turing.  This  Lectern  is  made  of  wrought  metals,  brass  and  iron,  chased  and 
engraved,  and  in  artistic  design  and  workmanlike  execution  and  finish  it 
reflected  the  highest  credit  upon  the  manufacturers.  The  brass  eagle  standing 


with  outspread  wings 
upon  a globe,  and 
crushing  in  its  talons 
a writhing  serpent,  is 
the  most  conspicuous 
feature  of  the  design. 
The  pose  of  the  bird 
and  the  position  of 
its  wings  are  arranged 
to  make  a convenient 
book-rest  for  the  reader 
at  the  lectern.  Spring- 
ing from  near  the  top 
of  the  shaft  that  sup- 
ports the  sphere  and 
eagle  are  branching 
candle-stands  of  grace- 
ful foliated  design. 
The  small  columns  sur- 
rounding the  central 
shaft  are  surmounted 
by  figures  of  the  four 
Evangelists,  admirably 
conceived  and  exe- 
cuted. At  the  base 
of  the  columns  are 
couchant  lions,  facing 


Bronze  Candelabra  ; Luton,  Paris. 


outwards,  vigorously 
modeled  and  instinct 
with  life.  Devices  of 
an  ecclesiastical  char- 
acter are  introduced 
into  the  enrichment  of 
the  panels  and  detail- 
work  of  the  construc- 
tion, and  add  to  the 
ornamental  effect  of 
the  whole. 

The  excellence  of 
the  Lace  Fabrics  made 
by  Messrs.  Heyman  & 
Alexander,  of  Not- 
tingham, England, and 
exhibited  at  the  Cen- 
tennial, worthily  main- 
tained the  reputation 
of  that  town  for  its 
famous  “Nottingham 
Lace.”  On  page  446 
we  engrave  one  of  the 
specimens  exhibited  by 
the  above-named  firm, 
a Lace  Curtain  of  a 
charmingly  light  and 


graceful  design,  prettily  and  tastefully  disposed  over  the  surface  of  the  net- work 
in  which  it  is  wrought.  There  is  a suggestion  of  the  Pompeiian  style  of  deco- 
ration in  the  vases  and  in  the  groups  of  conventionally  treated  flowers  and 
ferns  rising  one  above  the  other  in  graceful  convolutions;  and  these  are  happily 


INDUSTRIAL  ART. 


451 


harmonized  with  the  lattice-work  border  about  which  flower-garlands  and  vines 
are  wreathed  and  interwoven. 

In  contrast  with  this  strong  and  serviceable  fabric  is  the  delicate,  web-like 


Lace  Shawl,  illustrated 
on  page  447,  which  was 
one  of  the  many  superb 
examples  of  this  kind 
displayed  in  the  Collec- 
tive Exhibit  of  Brussels. 
Mrs.  Pallisser,  in  her  in- 
troduction to  the  Lace 
Catalogue  of  the  South 
Kensington  Museum, 
gives  an  interesting  ac- 
count of  this  industry. 
She  says  of  Brussels  lace 
that  it  is  the  most  cele- 
brated of  all  manufac- 
tures, distinguished  for 
the  beauty  of  its  ground, 
the  perfection  of  its 
flowers,  and  the  elegance 
of  its  patterns.  The 
thread  is  of  extraordinary 
fineness,  made  of  the  flax 
of  Brabant.  It  is  spun 
underground,  for  contact 
with  the  air  causes  it  to 
break,  being  so  fine  as 
almost  to  escape  the 
sight,  — the  lace-spinner 


Bronze  Lamp  : Luton,  Paris. 


is  guided  only  by  touch. 
Hand-spun  thread  costs 
sometimes  as  high  as 
;^240  per  pound,  and  is 
consequently  now  but 
little  used,  a Scotch 
cotton  thread  beincr  sub- 

o 

stituted,  except  for  the 
finest  lace  ; but  machine- 
made  thread  has  never 
arrived  at  the  fineness 
of  that  made  by  hand 
The  ground  used  in 
Brussels  lace  is  of  two 
kinds  — needle-point, 
“point  a raiguelle,”  and 
pillow.  The  needle-point 
is  made  in  small  seg- 
ments of  an  inch  wide, 
and  united  by  the  invis- 
ible stitch  called  “fine 
joining.”  It  is  stronger, 
but  three  times  more  ex- 
pensive, than  the  pillow, 
and  is  rarely  used  except 
for  royal  orders.  In  the 
pillow-made  ground  two 
sides  of  the  hexagonal 


mesh  are  formed  by  four  threads  plaited,  and  the  other  four  by  threads  twisted 
together;  but  these  beautiful  and  costly  grounds  are  now,  for  ordinary  pur- 
poses, replaced  by  the  fine  machine-made  net,  so  well  known  under  the  name 


452 


THE  INTERNATIONAL  EXHIBITION,  1876. 


of  “ Brussels  net.”  The 
Brussels  flowers  are  of 
two  kinds — those  made 
with  the  neec^e,  “point 
a I’aiguelle,”  and  those 
on  the  pillow,  called 
“ point  plat.”  Both  are 
made  distinct  from  the 
grounds.  In  the  old 
Brussels  lace  the  flow- 
ers were  worked  into 
the  ground ; the  pil- 
low-made, or  “Brussels 
plat,”  are  sewn  on 
or  “applied.”  The 
“modes”  or  “fillings” 
of  Brussels  lace  are 
peculiarly  beautiful, 
and  it  is  also  cele- 
brated for  the  perfec- 
tion of  the  relief  or 
cordonnet  which  sur- 
rounds the  flowers. 

The  making  of  this 
exquisite  lace  is  so 
complicated  that  each 
process  is  assigned  to 
a separate  hand,  who 
works  only  at  her  own 
department,  knowing 
nothing  of  the  gen- 
eral effect  to  be  pro- 
duced by  the  whole. 

Furniture  Silk:  Collective  Exhibit  of  Saxony. 

the  sole  responsibility 


of  which  rests  with  the 
head  of  the  establish- 
ment. 

Examples  of  all  these 
marvelous  fabrics  were 
shown  in  the  Centen- 
nial collection  in  the 
Belgian  Court,  as  well 
as  specimens  from 
other  blemish  schools. 
Some  of  these  pieces 
were  of  great  size,  as 
this  shawl,  for  instance, 
and  others,  especially 
in  the  costliest  fabrics, 
were  shown  in  collars, 
cuffs,  fan-trimming,  etc. 
In  many  instances,  the 
use  of  a powerful  mag- 
nifying-glass was  nec- 
essary to  distinguish 
the  minute  intricacies 
of  the  design. 

The  Iron  Bed.stead, 
illustrated  on  page  448, 
is  another  example  ot 
the  excellent  orna- 
mental metal-work  ex- 
hibited in  the  English 
Court  at  the  Centen- 
nial. This  bedstead 
was  manufactured  by 
Messrs.  Peyton  & Pey- 
ton, OF  London,  and 


INDUSTRIAL  ART. 


453 


illustrates  a method  of  workmanship  too  little  practised  in  this  country.  It  is 
of  wrought  iron,  and  consequently  all  the  light  and  graceful  scroll  ornamenta- 
tion seen  in  the  engraving,  although  lighter  and  more  open  than  the  like  style 
of  metal-work  common  in  this  country,  is  incomparably  stronger  than  that, 
because  the  latter  is  cast  iron,  one  of  the  very  worst  mediums  for  ornamental 
purposes.  Everybody  knows  how  common  it  is  to  see,  in  any  of  our  cities, 
fence-railings  and  step  balustrades  like  this  bedstead  in  ornamental  design, 
with  unsightly  holes  and  gaps  in  places  where  they  have  been  struck,  and 


Loiret  Faience : French  Court. 


frequently  a very  slight  blow  is  sufficient  to  make  the  damage.  The  trouble 
is  that  these  elaborate  designs  had  been  cast  and  not  wrought,  and  the  metal 
in  casting  had  acquired  a weak,  brittle  quality.  Wrought  iron  will  bend,  but  it 
will  not  break  under  a blow,  and  therefore  this  bedstead,  weak  as  it  looks  to 
people  familiar  only  with  its  cast-iron  counterparts,  will  stand  any  amount  of 
rough  handling,  and  if  it  does  get  battered  out  of  shape  it  can  always  be 
hammered  back  again  to  its  original  proportions.  We  trust  that  the  day  is  not 
far  distant  when  this  noble  branch  of  metal-working  will  receive  the  attention 
it  deserves  in  this  country. 

The  porcelain  of  Sevres,  its  pate  tendre  and  pate  dure,  is  famous  the  world 


454  THE  INTERNATIONAL  EXHIBITION,  1876. 

over,  the  former  es- 

Centennial  Exhibi- 

pecially  as  the  most  1 

tion  was  fortunate  in 

beautiful  and  pre-  I 

BHiilS? 

having  a collection 

cions  porcelain  ever  | 

iH§ 

|i|l3 

of  specimens  of  these 

produced.  The  man-  | 

two  kinds  of  Sevres 

ufacture  of  this  dif-  | 

ware  entrusted  to 

ficult  and  costly 

the  French  Commis- 

composition  was  dis- 

piipi 

sion  for  exhibition 

continued  in  the 

IlllllilPi 

only.  They  were  ar- 

begrinninor  of  this 

ranged  in  Memorial 

century,  and  to-day  1 

1 

Hall  in  various  parts 

specimens  of  Sevres  i 

of  the  building. 

pate  tendre  are  the  | 

^sibI 

where  they  attracted 

most  valued  of  ce-  I 

1 

universal  attention. 

ramie  wares.  A set  | 

1 

Our  illustration  on 

of  three  jardinieres,  1 

1 page  449  gives  a 

of  this  fabrique,  was  | 

SliP { 

group  of  six  of  these 

sold  a few  years  ago 

pieces,  showing  their 

at  auction,  in  Lon- 

Krfel 

form  and  the  style 

don,  for  ^10,000! 

hHIi! 

1 of  decoration ; but 

Sevres  pate  dure, 

the  pen  can  no  more 

or  hard  paste,  has 

pBlI 

llpRiH  hI  Hi 

than  the  pencil  con- 

' 

not  the  same  quali- 

1 

vey  the  marvelous 

ties  for  artistic  en- 

color  effects,  a depth 

richment  that  the 

1 

1 i^SIrPIra 

and  richness  not 

soft  paste  possessed. 

^B| 

1 11 

: otherwise  attainable 

and  it  is  much  more  || 

Ij 

in  art,  possessed  by 

easily  made ; never- 

PIB| 

Ihh 

, the  pate  tendre  ex- 

theless,  some  of  the  | 

amples. 

chefs  d'oeuvre  of  the  I 

' Two  examples  of 

the  artistic  bronzes 

of  Luton,  of  Paris — 

potter’s  art  are  in 

this  material.  The 

Furniture  Silk : Spanish  Court. 

a Bronze  Lamp  and 
451.  The  first  of 


a Bronze  Candelabrum — are  illustrated  on  page  450  and 
these  has  some  very  fine  repousse around  the  bowl 


INDUSTRIAL  ART. 


455 


which  contains  the  oil,  and 
is  mounted  on  a stand  or 
tripod  of  classical  design 
and  graceful  form.  The 
candelabrum  is  particularly 
graceful,  the  severity  of  the 
outline  being  relieved  by 
the  pendant  chains  con- 
necting the  brackets  with 
the  central  stem, which  rests 
upon  a richly  ornamented 
base. 

The  specimen  of  Furni- 
ture Silk,  from  the  Collec- 
tive Exhibit  of  Saxony, 
illustrated  on  page  452,  is 
noteworthy  for  the  richness 
of  its  design.  Here,  as  in 
many  previous  instances 
that  we  have  noted,  the  old 
Pompeiian  style  of  ar- 
ranging vases,  garlands, 
bouquets,  trophies,  and 
other  figures  in  groups, 
one  above  the  other  in  a 
connected  sequence,  is  seen 
in  the' designer’s  disposition 
of  this  pattern.  In  the  little 
oblong  panels  at  the  upper 
and  lower  end  of  the  strip 
of  silk,  a bit  of  figure- 
drawing has  been  intro- 


Lace Curtain:  M.  yacoby  Co.,  Nottingham. 


duced  in  the  combat  of  goats.  Only  an  exuberant  fancy  could  have  suggested 
anything  so  novel  as  this  is  in  connection  with  the  other  portions  of  the  design. 


456 


THE  INTERNATIONAL  EX  H I B I T 1 0 N,  1 8 7 6. 


The  elegance  and  elaborate  richness  of  the  Loiret  Faience  is  well  illus- 
trated in  the  two  examples  engraved  on  page  453,  from  the  Collective  Exhibit 
in  the  French  Court.  They  are  essentially  objects  of  ornament,  and  the  artist 
and  designer  have  free  scope  for  their  fancy  in  making  them  as  rich  and  pleasing 
to  the  eye  as  may  be.  The  modeling  of  these  vases  is  very  vigorous,  and  the 
decoration  is  rich,  varied  and  spirited.  There  is  charming  figure-painting,  too, 
of  little  loves  and  nymphs,  in  the  broad  zones  around  the  bowls,  that  should 
not  escape  the  observer’s  attention,  as  the  drawing  and  composition  are  excellent. 

The  Furniture  Silk,  shown  on  page  454 — an  example  of  Spanish  design. 


Cameos : Starr  Marcus,  New  York. 


from  the  Collective  Exhibit  of  Spain — is  one  of  the  most  graceful  and  effective 
realistic  treatments  of  plant-life  that  was  to  be  seen  in  the  whole  range  of 
textile  desiorns  at  the  Centennial.  A close  examination  will  show  that  the 

o 

drawing  is  not  realistic  as  a whole,  the  pattern  being  made  up  of  repetitions 
of  the  same  series  of  groups,  which  in  themselves  closely  imitata  nature ; yet 
so  cleverly  are  these  combined  that  the  general  effect  is  that  of  a climbing  or 
running  vine,  its  branches  and  tendrils  shooting  off  with  the  mediodical  irregu- 
larity of  the  living  plant. 

Another  example  of  English  Lace,  this  time  taken  from  the  exhibit  of 
M.  Jacoby  & Co.,  of  Notfingham,  is  engraved  on  page  455.  This  too  is  a Lace 
Curtain,  decorated  with  flowers  and  ferns  gracefully  arranged  in  festoons  and 
garlands  and  groups.  The  treatment  of  each  separate  flower  and  leaf  and 
fern  spray  is  realistic  to  a minute  degree,  but  here  the  imitation  of  nature 


INDUSTRIAL  ART. 


457 


ceases,  the  designer  having  disposed  of  them  in  harmonious  interweavings  so 
as  to  cover  a surface  of  a given  shape  and  size  to  the  most  advantage,  A 
richly-wrought  border  with  medallions  and  an  edging  containing  a neat  and 
unobtrusive  running  pattern  complete  this  elaborate  piece  of  work. 

Three  examples  of  the  superb  collection  of  Cameos,  exhibited  by  Starr  & 
Marcus,  of  New  York,  are  engraved  on  page  456.  These  exquisite  works  of 
art,  more  precious  in  the  estimation  of  many  than  gems,  because  their  art- 
excellence  cannot  be  counterfeited,  were  among  the  most  attractive  features  of 
the  display  of  articles  coming  within  the  province  of  the  jewelers.  In  cut 
cameos  the  New  York  exhibit  was  decidedly  the  finest  in  the  Exhibition, 
though  the  French  Court  contained  several  choice  specimens. 

The  part  played  by  the  love  of  decoration  in  the  development  of  civiliza- 
tion is  much  greater  than  persons  who  have  given  the  subject  no  attention 
imagine ; and  it  is  no  idle  fancy  that  has  given  the  diamond  the  first  place 
among  decorative  objects.  It  is  the  most  perfectly  beautiful  gem  produced  by 
nature.  It  has  been  happily  described  as  embodied  light.  So  far,  if  we  except 
the  minute  particles  claimed  as  diamonds  produced  by  some  European  chemists, 
it  has  defied  all  efforts  of  man  to  reproduce  it,  although  it  has  been  closely 
imitated.  Experiments  to  discover  its  nature  and  composition  were  begun  long 
ago.  About  one  hundred  years  since,  a certain  French  jeweler  denied  that  a 
diamond  would  burn,  and  in  his  confidence  placed  a magnificent  jewel  in  coal 
in  a crucible.  In  three  hours  it  had  disappeared.  Had  he  known  enough  to 
enclose  the  stone  from  the  air,  he  might  have  heated  it  as  hot  as  he  chose 
without  injury  to  the  gem.  Indeed,  diamonds  are  sometimes  increased  in  bril- 
liancy by  this  process ; but  it  is  not  an  experiment  we  would  advise  any  of 
our  amateur  readers  to  attempt.  How  the  diamond  comes  into  existence  is  a 
much  more  interesting  question  than  how  it  may  be  destroyed  ; but  though  there 
are  many  theories  on  the  subject,  nothing  is  positively  determined  as  yet. 

The  largest  diamonds  in  existence  are  thought  to  be  the  Braganza,  in  the 
crown  of  Portugal,  and  the  Borneo  gem,  belonging  to  the  Rajah  of  Mattan. 
Mr,  Streeter,  in  his  book  on  “Precious  Stones  and  Gems,”  states  that  the 
Braganza  weighs  1680  carats,  and  if  it  is  genuine,  about  which  there  seems  to 
be  some  doubt,  it  is  worth  nearly  ^60,000,000 ; at  least  these  are  the  printed 
figures.  The  Borneo  diamond  has  been  the  occasion  of  many  battles,  and  at 


458 


THE  INTERNATIONAL  EXHIBITION,  1876 


Silver  Fairy  Table : Elkiuglon  &=  Co.,  Birmingham. 


INDUSTRIAL  ART. 


459 


one  time  two  men-of-war  and  ^150,000  were  offered  for  it  by  a governor  of 
Batavia,  but  the  Rajah  regards  it  as  a talisman,  and  will  not  sell  it.  It  is  said 
to  weigh  367  carats.  It  must  be  remembered  that  a diamond  before  it  is  cut 
and  after  it  is  cut  is  a very  different  thing;  and  the  advantages  of  cutting  are 


Silver  Fairy  Plaque  i^Top)  : Elkington  Co.,  Birmingham. 


not  always  very  plain.  Competent  judges  are  of  the  opinion  that  the  Koh-i-noor 
has  not  been  increased  in  brilliancy  to  an  extent  sufficient  to  make  up  for  the 
loss  in  weight  by  cutting.  When  this  famous  diamond  was  brought  to  England 
it  weighed  186  carats,  but  it  has  since  been  ground  down  to  nearly  half  that 
weight.  It  is  believed  that  at  some  remote  date  this  gem  weighed  within  a 
fraction  of  800  carats.  Had  the  possessors  of  this  marvelous  jewel  been 


460 


THE  INTERNATIONAL  EXHIBITION,  1876. 


content  with  its  natural  irregularity  of  outline,  this  enormous  sacrifice  of  weight 
and  value  to  secure  regularity  and  symmetry  would  not  have  been  made. 

In  some  cases,  however,  diamonds  gain  largely  in  worth  by  cutting,  and 
this  is  especially  the  case  with  the  smaller  stones.  No  one  who  looked  upon 
the  glittering  array  of  facetted  brilliants  exhibited  by  Starr  & Marcus,  of  New 
York,  in  their  Court  at  the  Centennial,  could  regret  the  cutting  and  polishing 


/ French  Pottery : French  Court. 

processes  that  resulted  in  the  production  of  these  superb  jewels.  In  the  examples 
of  Diamond  Jewelry  from  the  exhibit  made  by  this  firm,  which  we  illustrate  on 
page  456,  no  one  can  be  blind  to  the  beauty  of  the  royal  stone,  transfigured 
by  the  cunning  art  of  the  lapidary  into  the  most  sparkling  brilliant. 

Among  the  many  and  important  works  of  art  metal-work  exhibited  by  the 
Messrs.  Elkington  & Co.,  of  Birmingham,  at  the  Centennial  Exhibition,  the 
Silver  Fairy  Table,  illustrated  on  page  458,  held  a prominent  place,  both  on 
account  of  its  beautiful  design  and  exquisite  workmanship.  The  general  form 


INDUSTRI AL  ART. 


461 


Crystal  Chandelier . yames  Green  Nephew,  London. 


462 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 76. 


of  this  beautiful  ornament  is  a circular  top  with  a raised  and  embossed  border, 
supported  by  a baluster-shaped  shaft  upon  a three-footed  base.  The  entire 
surface  of  the  table  within  the  bounds  of  the  circular  border  is  enriched  with 
a charming  composition  representing  a procession'of  fairies  and  cupids.  There 
are  more  than  twenty  figures  in  this  group,  each  one  of  which  is  a model  of 
graceful  spirit  and  design.  Not  the  least  meritorious  part  of  the  work  is  the 
admirable  harmony  of  outline  that  the  artist  has  secured  in  the  flowing  drapery 
and  sweeping  curves  of  the  limbs  of  his  figures.  The  whole  of  this  design  is 
a model  of  happy  invention  and  artistic  skill.  From  the  centre  of  the  table-top 
rises  a fairy  statuette,  modeled  with  rare  grace  and  symmetry.  The  shaft  of 
the  table  is  covered  with  low  relief  ornamentation  of  a floral  character.  Seated 
about  the  base  of  the  stand  are  three  figures — a troubadour,  a knight-errant 
and  a page — which  are  wrought  in  an  exceedingly  graceful  and  spirited  manner. 
The  pose  of  each  is  admirable,  and  the  artist  has  invested  them  with  an  indi- 
viduality rarely  equaled  in  compositions  of  this  kind. 

On  page  460  we  illustrate  a group  of  French  Pottery — porcelain  and 
faience — which  have  features  of  special  excellence.  The  vase  on  the  left  hand 
is  one  of  the  Sevres  collection,  to  which  reference  has  been  already  made,  and 
is  a beautiful  illustration  of  the  artistic  and  technical  excellence  of  the  products 
of  the  famous  Sevres  factory.  The  upper  portion  of  the  vase  is  decorated 
with  a sacrificial  scene,  such  as  is  often  found  illustrated  on  classical  vessels 
and  in  the  frescoes  of  rooms.  The  drawing  of  the  figures  is  very  delicate 
and  subtle.  The  body  of  the  vessel  is  enriched  with  a species  of  ornament 
which,  when  judiciously  employed,  gives  very  rich  effects.  This  ornament  con- 
sists of  a series  of  twisted  ovolo  mouldings,  which,  springing  from  a common 
centre  at  the  base  of  the  vase,  wind  up  around  the  bowl.  These  ovolos  are 
of  a rich  turquoise  blue  color,  with  gold  stars  and  fern  patterns  gilded  upon 
the  surface.  The  same  rich  color  forms  a ground  for  the  decoration  about  the 
stem  ofi  the  vase.  Around  the  edge  of  the  base  is  a scroll  design  made  up 
of  beautiful  curves  interwoven  in  a fanciful  pattern  of  peculiar  beauty. 

The  middle  object  of  the  group  is  in  the  shape  of  one  of  those  shallow 
cups  having  an  enriched  stem  which  were  commonly  made  during  the  sixteenth 
century  as  decorative  articles  of  luxury,  and  called  Presentoirs.  This  vessel,  it 
is  true,  has  a cover,  which  Presentoirs  had  not,  but  m all  other  respects  it  has 


I NDUSTRIAL  ART. 


463 


the  characteristics  of  those  articles.  It  is  enriched  with  enamel-painting  after 
the  style  of  Limoges,  a town  in  the  south  of  France,  which  was  particularly 


Carpet:  Tompkinson  <5r>  Adams.  Kidderminster. 


distinguished  during  the  twelfth  century  for  the  beauty  of  its  enamel-work.  One 
of  its  peculiarities  was  the  adoption  of  a transparent  color,  usually  blue. 


464 


THE  INTERNATIONAL  E X H I D I T 1 0 N,  1 8 y 6. 


enriched  by  small  transparent  globules  on  silver  spangles,  which  gave  a gem- 
like  appearance  to  the  work.  The  application  of  this  style  of  enamel  to  a 
porcelain  surface  gives  wonderfully  rich  and  beautiful  effects,  but  the  process  is 
one  of  such  extreme  difficulty  that  perfect  work  is  rarely  attained. 

The  third  figure  of  the  group  is  one  of  the  charming  faience  vases 
exhibited  by  Haviland,  of  Limoges,  and  painted  in  a style  to  which  he  has 
given  the  name  of  the  town.  The  artistic  excellence  of  this  work  is  so  great 
that  it  is  not  impossible  that  the  Limoges  faience  will  have  an  art  influence  on 
our  times  comparable  with  the  influence  of  the  Limoges  enamels,  which  we 
have  spoken  of  above,  on  the  fashions  of  their  day.  The  characteristics  of  the 
Haviland  artistic  faience  are  an  extraordinary  breadth  and  vigor  of  drawing, 
and  effective  if  not  always  harmonious  color  qualities.  The  clay  of  which  these 
vessels  are  composed  is  of  a coarse  quality,  but  of  a nature  well  adapted  to 
decorative  treatments.  The  forms  of  the  objects  are  almost  always  good  and 
of  simple,  severe  outline,  which  we  would  not  look  for  among  a people  who 
are  so  fond  of  rich,  voluptuous  curves  and  elaborate  ornamentation. 

Although  the  glass-workers  of  Bohemia  are  eminent  for  the  brilliant  color- 
effects  which  they  produce  in  glass,  and  for  the  exquisite  grace  and  delicacy 
of  their  blown  glass,  in  another  style — the  production  of  fine  flint  and  crystal, 
and  a glass  of  almost  absolute  transparency  as  well  as  great  brilliancy,  they 
are  rivaled  by  the  English  manufacturers.  The  cut  glass  of  England  is  especially 
famous  for  the  perfection  of  the  “metal,”  which  is  of  almost  limpid  purity,  and 
the  heavy  and  refractive  cutting  into  facet  and  -diamond  patterns,  which 
increases  the  brilliancy  of  the  metal,  just  as  similar  cutting  affects  a diamond 
or  other  gem.  , 

The  largest  and  most  important  collection  of  glass  shown  by  any  English 
firm  at  the  Centennial  was  that  made  by  James  Green  & Son,  of  London, 
from  which  display  we  have  chosen  a Crystal  Chandelier,  engraved  on  page 
461,  as  illustrating  the  particular  excellence,  pointed  out  above,  of  English  glass. 
The  lustres  in  this  chandelier  are  superb  examples  of  facet-cutting,  and  no 
more  gorgeous  object  can  be  imagined  than  this  gracefully-shaped  pendant 
when  it  is  in  use  and  reflecting  the  prismatic  colors  in  a myriad  tremulous 
scintillations  of  sparkling  points  of  light. 

Another  of  Tompkinson  & Adams’s  admirably  designed  Kidderminster 


INDUSTRIAL  ART. 


465 


Tapestry : French  Court. 


Carpets  is  illustrated  on 
page  463.  The  several 
patterns,  whether  of  con- 
ventionalized flowers  and 
leaves,  as  seen  in  the  centre 
ground  and  on  the  broad 
stripe  in  the  border,  or  of 
simpler  forms  in  the  nar- 
rower stripes,  are  well 
worthy  of  observation  as 
examples  of  well-consid- 
ered and  appropriate  de- 
sign. The  beauty  of  these 
designs  in  the  example 
before  us  was  enhanced  by 
the  careful  avoidance  of 
glaring  and  garish  colors, 
and  a prevalence  of  second- 
ary and  tertiary  tints  and 
shades. 

In  the  art  of  tapestry- 
making, which  is  allied  to 
carpet-making,  the  French 
have  for  years  excelled,  es- 
pecially in  the  richness  of 
their  designs.  On  this  page 
we  illustrate  two  beautiful 
examples  of  this  art  se- 
lected from  the  exhibition 
of  Tapestries  in  the  French 
Court  at  the  Centennial. 


Tapestry  : French  Court. 


The  patterns,  which  though  not  exactly  alike,  have  sufficient  similarity  to  be 
considered  together,  are  remarkably  elegant  and  effective.  In  an  arched  arbor, 
about  which  is  wreathed  a climbing  vine,  stands  an  antique  vase  filled  with 


466 


THE  I NTERNATIO  XAL  EXHIBITION,  1876. 


» 


brilliantly -colored  flow- 
ers. From  the  garlands 
above  depend  long  ropes 
of  evergreen,  from  which 
are  suspended  bunches 
of  fruit  and  flowers  and 
vessels  and  trophies  sug- 
gestive of  the  vintage,  the 
chase  and  rural  sports. 
In  the  arrangement  and 
distribution  of  these 
groups,  the  influence  of 
a study  of  the  Pom- 
peiian style  of  wall-deco- 
ration on  the  part  of  the 
designer  is  plainly  visible. 

A characteristic  work, 
both  in  the  object  itself 
and  in  its  enrichment,  is 
the  Persian  Kalian,  or 
water  tobacco-pipe,  com- 
monly called  a Hookah, 
illustrated  on  this  page. 
It  consists  of  an  earthen 
head,  in  which  the  to- 
bacco and  coal  are 
placed ; of  a long  orna- 
mented stem  running 
down  into  the  bowl 
which  contains  the  water, 
and  of  the  flexible  stem 
made  by  wrapping  small 
perforated  wooden  discs 
in  a closelv  twisted  or 


Fersintt  Kahan  :* Persian  Court. 


woven  covering.  The 
bowl  in  this  case  is  of 
copper  metal  damas- 
cened with  silver,  and  is 
of  the  shape  of  the  an- 
cient amphorae  of  the 
Romans.  This  shape, 
although  used  here  sim- 
ply for  its  beauty,  was 
adopted  originally  in 
order  that  the  smoker 
could  stick  his  pipe  in 
the  ground  . anywhere 
that  he  chose  to  rest  and 
enjoy  the  solace  of  the 
narcotic  weed.  A Ro- 
man or  Greek  amphora 
had  a pointed  shape  for 
a like  reason — i.  e.,  that 
it  could  be  stuck  upright 
in  the  ground  anywhere. 
The  tripod  stand  and 
hollow  pedestal  for  hold- 
ing these  vessels  were 

o 

a later  invention. 

On  page  467  we  illus- 
trate three  specimens  of 
Egyptian  Saddlery, 
which  exhibit  the  skill 
of  Egyptian  workmen 
in  several  branches  of 
industry,  but  especially 
in  leather  decoration. 
Examples  of  this  are 


INDUSTRIAL  ART. 


467 


I 


Harness,  Two  Saddles  and  a Bridle : Egyptian  Department. 


468 


THE  INTERNATIONAL  EXHIBITION,  1876. 


seen  in  the  tooled  work  and  the  gilding  and  color  enrichments  on  the  saddle  and 
bridle  shown  on  the  preceding  page,  which  are  evidently  intended  to  be  used 
together.  In  the  other  saddle  the  design  appears  to  have  been  stamped  in  the 
leather.  In  the  ornamentation  of  this  but  little  gilding  or  color  has  been  used, 
strips  of  gilt  braid  supplying  their  place.  The  horn  and  cantel  of  this  saddle  are 
of  wood,  richly  carved  and  inlaid  and  bound  about  with  metal.  The  saddle-cloths 
are  richly  embroidered  with  gold  and  colored  threads  and  adorned  with  gay 
trappings.  The  bridle  is  furnished  with  a ring-bit,  an  instrument  of  torture  to 
the  horse  in  the  hands  of  any  but  horsemen  accustomed  to  using  it.  But  to 
go  back  again  to  a consideration  of  the  leather-work,  we  find  it,  aside  from  the 
novel  shapes  of  the  saddles,  the  most  interesting  thing  in  these  objects.  It 
represents  an  art  that  dates  from  the  most  remote  period.  Its  manufacture  in 
the  middle  ages  became  an  important  branch  of  industry,  and  numerous  imple- 
ments of  war  and  useful  and  ornamental  articles  were  made  of  leather.  At  a 
very  early  date,  the  method  of  ornamenting  this  material  by  impressing  patterns 
on  its  surface  was  known.  The  process  consisted  of  softening  the  leather  by 
boiling,  stamping  it  while  in  that  condition,  and  then  letting  it  dry  and  harden. 
The  beautiful  leather  hangings,  known  as  tapisseries  de  cuir-dore  or  de  cuir- 
argerite,  of  the  sixteenth  and  seventeenth  centuries,  now  treasured  in  museums, 
were  at  one  time  a favorite  style  of  wall-hangings  among  the  wealthy  classes 
of  western  and  southern  Europe.  Some  of  these  were  decorated  with  patterns 
stamped  in  a mould,  gilded,  and  afterwards  burnished ; but  the  more  costly 
hangings  had  the  designs  wrought  by  hand-labor,  the  surface  of  the  leather 
being  chased  with  a wooden  tool  and  the  gilding  and  color  applied  afterwards. 
Relief  figures  and  compositions  as  large  as  the  side  of  a room  were  produced 
in  this  way,  some  of  them  were  very  elaborate  in  design  as  well  as  artistically 
beautiful. 

The  examples  of  wood-carving  exhibited  by  Luigi  Frullini,  in  the  Italian 
Court  at  the  Centennial,  have  been  very  fully  illustrated  in  these  pages.  As 
specimens  of  artistic  design  and  technical  skill  in  execution  they  were  very 
remarkable.  On  page  470  we  engrave,  as  another  example  of  this  industrious 
artist’s  work,  a Carved  Cabinet,  that  illustrates  his  fine  methods  of  ornamenta- 
tion. With  him  arabesque  designs  have  again  been  restored  to  something  like 


INDUSTRIAL  ART 


469 


the  purity  and  grace  they  possessed  before  the  gaudy  taste  of  the  Bourbons 
stimulated  the  decorative  artists  of  those  times  to  overload  their  desio^ns  in  this 
style  with  decorative  convolutions,  until  all  meaning  and  propriety  was  hidden 
or  lost  in  a wearisome  intricacy  of  detail. 

Not  the  least  noticeable  decorative  features  in  this  cabinet  are  the  panels 
just  below  the  entablature.  Here,  the  simple  convolutions  of  the  scroll  take 
an  elegant  curve,  fanciful  in  character,  but  following  the  lines  of  the  antique 
vase  in  the  centre,  which  is  the  foundation  of  the  ornament.  In  the  execution 
of  this  work,  the  chiseling  is  so  fine  and  dexterous  that  the  piece  is  a curiosity 
as  well  as  a work  of  art. 

From  the  Collective  Exhibit  of  Germany  we  illustrate,  on  page  471,  two 
Leather  Card-Cases,  which  exhibit  in  their  ornamentation  much  skill  in  design 
and  workmanship.  The  designs  are  not  only  artistic  in  themselves,  but  they  are 
of  a kind  well  adapted  for  the  material  and  the  use  to  which  they  are  put.  This 
peculiar  style  of  ornament,  called  strap-work,  from  its  resemblance  to  narrow 
fillets  or  bands  crossed  and  folded  and  interlaced,  originated  at  a very  early 
period  and  was  extensively  adopted  for  decorative  purposes  in  Europe,  particu- 
larly in  Germany,  in  the  fifteenth  and  sixteenth  centuries.  It  is  also  a prevailing 
characteristic  of  the  style  of  the  late  Renaissance,  and  has  retained  its  favor 
among  decorators  ever  since. 

Another  of  the  fine  art  works  of  the  Messrs.  Elkington,  of  Birmingham, 
England,  is  seen  in  our  illustration  on  page  472.  This  is  a Bronze  Statuette, 
representing  the  capture  of  the  Arcadian  Stag  by  Hercules.  It  is  so  artistically 
and  technically  admirable,  that  it  may  be  classed  as  an  example  of  the  best 
skill  in  English  art  bronze  work.  Around  the  side  of  the  pedestal  are  a series 
of  panels,  with  designs  executed  in  low  relief,  representing  the  other  labors  of 
the  hero. 

The  Ph/Eton  Cup,  engraved  on  page  473,  is  still  another  of  the  art  objects 
in  the  superb  collection  of  metal-work  exhibited  by  the  Messrs.  Elkington  at 
the  Centennial.  The  cup  is  of  silver,  enriched  with  repousse-v^oxV,  chasing,  and 
damascening  in  steel.  We  shall  simply  call  the  reader’s  attention  to  the  several 
flowers  in  the  ornamentation  of  the  handles  to  the  vase,  and  then  leave  to  him 
the  pleasure  of  discovering  the  elaborations  of  the  artist’s  theme  in  the  enrich- 
ment of  this  charming  work. 


470 


THE  INTERNATIONAL  E X H 1 B I T 1 0 N,  1 8 7 6. 


On  page  474  we  engrave  an  illustration  of  the  Musica  Vase,  obtained  for 
exhibition  at  the  Centennial  by  the  French  commissioners  as  an  example  of 
the  famous  Sevres  porcelain.  This  vase  is  of  the  hard  porcelain  or  pate  dw'e 
variety.  The  quality  of  the  material  is  of  superlative  excellence,  but  this  very 
excellence  is  a serious  obstacle  to  its  decoration.  It  is  impossible  to  get  in 
hard  porcelain  anything  approaching  the  rich  color  effects  that  make  Sevres’  soft 
porcelain  or  pate  tendre  so  splendid.  Indeed,  the  colors  on  hard  porcelain  do 


Walnut  Cabinet : Frullini,  Milan. 


not  appear  to  sink  in  at  all,  but  rather  to  lie  on  the  surface.  Looking  at  the 
paintings  one  might  think  almost  to  discover  their  impasto. 

It  is  to  be  regretted  that  the  collection  of  pottery  and  porcelain  exhibited 
in  the  Chinese  Court  at  the  Centennial  was  not  only  crowded  together  and 
badly  arranged,  but  that  no  satisfactory  information  regarding  it  could  be  had 
from  the  people  in  charge  concerning  it.  In  these  regards  it  formed  a marked 
contrast  to  the  corresponding  exhibit  in  Japan,  where  everything  was  in  order 
and  convenient  of  access,  and  the  attendants  were  ready  and  qualified  to  give 
information  concerning  everything  shown.  The  confusion  in  the  Chinese  Court 
was  the  more  deplorable  because  the  porcelain  there  contained  many  really  fine 


INDUSTRIAL  ART. 


471 


pieces,  both  ancient  and  modern,  and  a large  number  ot  reproductions  of  early 
styles  of  great  interest  to  the  student.  On  page  475  we  engrave  an  illustra- 
tion of  a Porcelain  Vase,  painted  in  polychrome  and  gilded,  which  is  a 
characteristic  example  of  the  ware  made  for  exportation.  On  one  side  of  this 


Leather  Card- Cases  ; Collective  Exhibit  of  Germany. 


vase  we  have  a design  in  the  traditional  style  of  decoration,  and  on  another 
a composition  in  which  European  taste  is  catered  to. 

The  much  maligned  Queen  Anne  style  of  furniture  is  happily  illustrated 
in  the  Table,  engraved  on  page  476,  which  was  manufactured  by  Messrs. 
Wright  & Mansfield,  of  London.  This  firm  made  an  extensive  exhibit  of 
furniture  of  various  kinds;  a specialty  of  their  work,  however,  being  objects  in 
this  and  so-called  Eastlake  styles.  The  notable  feature  in  this  table  is  the 


472 


THE  INTERNATIONAL  EXHIBITION,  1876. 


inlaying  of  black  and  colored  woods,  called  Marquetry.  The  medallions  in  the 
panels  of  the  lower  drawers  are  executed  with  considerable  skill,  and  the 
general  effect  is  highly  artistic. 

Our  engraving  on  page  477  illustrates  Egyptian  Vases  and  other  arti- 
cles mostly  exhibited  by  the  National  Museum  and  The  Bazaar,  at  Cairo. 
The  group  contains  several  styles  and  varieties  of  vessels  copied  after  old 

in  the  mosques 
of  Egypt. 

The  exhibit 
of  artistic  and 
decorative  pot- 
tery from  the 
Minton,  Wor- 
cester and  Coal- 
brookdale  pot- 
teries made  by 
their  agents,  the 
Messrs.  A.  B. 
Daniell&Son, 
OF  London,  at 
the  Centennial, 
measurably 
supplied  the 
place  of  sepa- 
rate exhibits  by 

those  famous  factories,  and  brought  together  within  the  limits  of  their  cases  a 
collection  of  ceramic  wares  unsurpassed  in  variety  and  beauty  by  any  other 
exhibitor  or  agent  in  the  English  or  any  other  Court.  We  have  already  given 
our  readers  illustrations  of  many  of  the  chefs  d'oeuvre  of  this  fine  collection, 
but  the  number  is  by  no  means  exhausted.  On  page  478  we  engrave  a Fruit 
Stand,  one  of  the  decorative  pieces  in  majolica,  made  by  Minton  to  the  Order 
of  the  Messrs.  Daniell.  This  piece  is  remarkable  for  its  vigorous  and  artistic 
modeling,  and  is  especially  commendable  for  the  beauty  of  its  colors,  which 
indicate  a conquest  of  great  technical  difificulties  and  rare  skill  in  potting.  The 


Egyptian  pat- 
terns, in  sun- 
dried  and  baked 
clay,  with  color 
and  incised  dec- 
orations. Some 
of  the  decora- 
tions are  in  Per- 
sian style  and 
very  effective. 
A pipe,  of  char- 
acteristic Turk- 
ish shape,  is 
added  to  the 
group,  and  also 
one  of  the  beau- 
tifui  bronze 
hanging  lamps 
which  are  in  use 


Bronze : Elkington,  London. 


INDUSTRIAL  ART. 


473 


finish  of  the  work  also  is  admirable ; all  the  outlines  of  the  vessel  and  the 
contours  of  the  figures  being  sharp  and  well  defined. 

One  of  the  most  remarkable  and  precious  articles  shown  at  the  Centennial 
was  the  Glass  Hanging  Lamp,  exhibited  by  the  National  Museum,  of  Cairo, 
in  the  Egyptian  Court,  which  we  illustrate  on  page  479.  It  is  one  of  the  very 


PhcEton  Cup:  Elkington  Co.,  London. 


few  known  specimens  of  enameled  glass  lamps  for  mosques,  some  of  the 
thirteenth  century  work,  which  were  made  by  the  expert  glass-blowers  of  that 
period.  In  one  of  his  lectures  on  “ Arts  Museums,”  delivered  by  Dr,  Chris- 
topher Drener,  in  the  Academy  of  the  Fine  Arts,  under  the  auspices  of  the 
Pennsylvania  Museum  and  School  of  Industrial  Art,  that  gentleman  made  an 
interesting  mention  of  a similar  specimen  to  the  one  engraved  above. 

“ A most  striking  illustration,”  he  said,  “ of  the  usefulness  of  museum 
specimens  is  found  in  the  beautiful  work  of  Brocard,  of  Paris.  An  Arabian 


474 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 76. 


lamp  was  added  a few  years  since  to  the  collections  of  the  Louvre.  It  was 
formed  of  transparent  and  nearly  colorless  glass,  which  was  richly  figured  with 
characteristic  ornaments  traced  in  enamel  colors  and  gold.  It  was  brought,  I 


Sevres  Vase;  French  Court. 


believe,  from  a mosque  in  Cairo,  and  was  thirteenth  century  work;  a specimen 
of  a manufacture  altogether  new  to  Europe,  and  it  was  undoubtedly  artistic. 
No  sooner  was  it  exposed  in  the  museum  than  it  attracted  the  attention  and 
elicited  the  admiration  of  M.  Brocard.  But  this  man  did  not  content  himself 


INDUSTRIAL  ART. 


475 


with  simply  admiring  it ; he  at  once  attempted  its  reproduction,  and,  happily, 
after  many  attempts,  he  succeeded  in  founding  an  art  which  is  most  creditable 
to  France.  Brocard,  however,  did  not  merely  commence  the  manufacture  of 
lamps  now  no  longer  useful,  but  devoted  his  best  efforts  to  the  production  of 


Porcelain  Vase.'  Chinese  Court. 


objects  calculated  to  meet  modern  wants ; and  thus  a new  manufacture  has 
arisen  in  France  from  the  object  of  one  object  into  the  national  museum.” 

We  are  pleased  to  be  able  to  make  place  for  this  note  here,  as  it  is  a 
noteworthy  answer  to  many  who  are  disposed  to  underrate  the  present  move- 
ment In  this  country  In  favor  of  art  museums  and  industrial  art  education. 
There  is  no  denying  the  fact  that  if  the  United  States  is  to  gain  and  maintain 
a place  In  the  markets  of  the  world  for  manufactured  articles  of  any  descrip- 


476 


THE  INTERNATIONAL  EX  H I B ITI 0 N,  187  6. 


tion  into  which  artistic  design  enters,  that  we  must  provide  schools  of  art 
instruction  and  art  museums  in  the  great  commercial  and  manufacturing  centres 
of  the  country.  And  the  sooner  our  manufacturers  awaken  to  the  necessity  of 
this  and  act  accordingly,  the  better  it  will  be  for  the  community.  In  this  city 
we  have  the  above-mentioned  Museum  and  School  of  Industrial  Art  now  in 
active  operation,  and  in  regard  to  this  new  manufacture  of  Brocard,  which  was 
not  shown  at  the  Centennial,  any  one  interested  in  the  subject  can  see  at  the 


Console  : Wright  Mansfield,  London. 


museum  a case  of  his  superb  ware,  which  the  museum  committee  have  obtained 
for  the  use  of  the  students. 

Recurring  again  to  the  exhibit  of  the  Messrs.  Elkington,  of  Birmingham, 
England,  we  have  selected  for  illustration  on  page  480  a group  of  Artistic 
Metal-Work,  consisting  of  an  Iron  Tazza,  with  silver  and  copper  enrichments; 
a large  Flower  Dish  with  water  channels  between  raised  ornamented  zones ; 
and  a Silver  Tazza,  in  repousse-work,  named  from  the  subject  the  “Impruden- 
tia.”  Each  of  these  articles  is  a masterpiece  in  its  way,  and  contributes  to  the 
great  reputation  of  the  Messrs.  Elkington  as  artistic  metal-workers.  The 


!ND  US  TRIAL  ART. 


477 


central  figure  of  the  group, 
the  Flower-Dish,  is  charm- 
ingly ornamented  around  the 
outer  rim  with  medallion 
figure-subjects  symbolical  of 
the  months.  Nothing  could 
be  more  graceful  and  spirited 
than  the  poses  of  the  female 
figures,  nor  more  happily 
conceived  than  the  manner  in 
which  the  zodiacal  signs  are 
introduced,  and  the  subject 
in  its  entirety  treated.  These 
medallions  illustrate  the  first 
six  months  of  the  year — July 
and  the  remaining  months 
being  figured  in  a like  manner 
on  the  other  plaque  which 
matches  the  one  shown  in 
our  illustration.  In  the  centre 
of  the  disb  are  a bevy  of 
pretty  little  cupids,  flower- 
wreathed  and  rose-crowned. 

As  is  the  case  with  all  of  the 
Elkington’s  art- work,  the 
delicacy  of  the  workmanship  and  the  fine  execution  are  quite  equal  to 
purity  and  elegance  of  the  designs. 


the 


Ceramics,  Pipe  and  Swinging  Vase:  Egyptian  Court. 


478 


THE  INTERNATIONAL  EXHIBITION,  1876. 


A characteristic  feature  of  the  display  of  jewelry,  gold  and  silver  personal 
ornaments,  etc,,  in  the  Italian  Court  at  the  Centennial,  was  the  filigree  work, 
principally  from  Genoa.  This  beautiful  style  of  working  the  precious  metals,  a 
style  that  is  of  the  highest  antiquity,  is  nowhere  at  the  present  day  carried  to 
such  a degree  of  perfection  in  delicacy  and  grace  of  treatment  as  in  Italy. 
The  Eastern  nations  have  for  ages  been  remarkable  for  their  proficiency  in  this 
kind  of  metal-work,  and  in  certain  particulars  the  oriental  filigrees  excel  those 


of  Europe ; but  the 
exquisite  arabesques 
and  flowers  of  Italian 
filigree,  wrought  on 
a ground  of  lace-like 
minuteness,  have  a 
beauty  peculiarly 
their  own.  In  old 
times,  among  the 
Italians,  who  revived 
this  delicate  art,  it 
was  the  fashion  to 
place  beads  upon 
wire'  used  in  form- 
ing the  design,  and 
hence,  according  to 


Fruit  Stand:  Daniell  Son,  London. 


Dr.  Ure,  the  word 
filigrana,  from  jilwn 
and  granum,  or  gran- 
ulated net-work.  On 
page  479  we  give  an 
illustration  of  mod- 
ern Italian  filigree,  in 
a Card-Case,  made 
by  C.  Salvo  & Son, 
OF  Genoa,  whose  ex- 
hibit was  particularly 
rich  in  this  style  of 
work. 

The  luxurious  and 
exuberant  fancy  of 
French  designers. 


who  unquestionably  excel  those  of  any  other  European  nation  as  decorative 
artists,  was  illustrated  in  a thousand  different  ways  at  the  Centennial,  but  in  no 
one  particular,  perhaps,  was  it  so  apparent  as  in  the  designs  for  surface  deco- 
ration, such  as  wall-hangings,  curtains,  furniture-covers,  etc.  Some  of  the  latter 
were  of  such  costly  stuffs,  and  so  elaborately  enriched,  that  they  suggested  a 
return  to  the  prodigality  and  extravagance  of  living  that  obtained  in  the  gor- 
geous reign  of  the  fourteenth  Louis.  Some  of  these  examples  of  what  the 
fertile  fancy  of  the  decorator  of  textiles  could  accomplish  were  removed,  by  the 
dignity  and  merit  of  the  design,  from  among  productions  of  utility  to  the 
sphere  of  the  Fine  Arts.  On  page  481  we  give  an  engraving  of  one  of  these, 
a Furniture  Silk,  that  is  particularly  admirable.  It  does  not  occur  to  us,  in 


INDUSTRIAL  ART. 


479 


regarding  this  fine  composition,  to  consider  the  durability  of  the  fabric  or  its 
possible  subjection  to  wear  and  tear';  and,  indeed,  in  any  but  a palatial  apart- 
ment this  elaborate  work  would  be  more  appropriate  as  a wall-fresco  than  as 
an  ornament  to  a chair-back.  The  original,  however,  belongs  to  a set  of  fur- 
niture-silks, exhibited  in  the  French  Court  at  the  Centennial,  each  one  of  which 
has  its  separate  ornament,  designed  to  cover  a space  of  the  shape  required  by 
the  article  of  furniture  to  be  upholstered. 


Glass  Hanging  Lamp : Egyptian  Court. 


Cold  Filigree  Card-Case : C.  Salvo  6r  Son,  Genoa. 


On  page  482  we  engrave  a group  of  objects  from  the  India  collection  in 
the  British  section  of  the  Exhibition,  illustrative  of  certain  of  the  industrial 
arts  obtaining  in  that  country.  Here  are  hats  and  baskets  of  cane  and  straw, 
specimens  of  ivory,  and  objects  in  lacquered  wood.  The  method  of  lacquering, 
as  described  by  Mr.  Watson,  the  Director  of  the  India  Museum,  is  as  follows: 
The  object  to  be  lacquered  is  turned  from  hard  wood,  usually  shisham.  After 
being  smoothed  and  cleaned,  it  is  again  fixed  in  the  turner’s  frame  (a  kind  of 
lathe  worked  by  hand),  and  made  to  rotate.  The  sticks  of  lacquer  color,  con- 
sisting of  a mixture  of  lac,  resin,  coloring  matter,  and,  it  is  said,  a certain 
proportion  of  sulphur  and  bees-wax,  are  then  applied  to  the  rotating  object ; 


480 


THE  INTERNATIONAL  EXHIBITION,  1876. 


the  heat  produced  by  friction  is  sufficient  to  soften  the  lacquer  composition, 
which  attaches  itself  to  the  wood,  producing,  however,  a dull  and  streaky 
appearance.  When  sufficient  color  has  been  applied,  the  surface  of  the  article 
is  skillfully  rubbed  with  a piece  of  bamboo  having  a fine  edge,  by  which  the 
color  is  evenly  distributed,  and  a polish  produced,  which  is  finally  completed 


INDUSTRIAL  ART. 


481 


Furniture  Silk : French  Court. 


482 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Group  of  Objects  from  Egyptian  Court. 


with  oiled  rags.  To  produce  the  mottled  appearance  so  much  admired,  a color 
stick  of  a rather  harder  composition  than  that  used  for  producing  a uniform 
color  is  tightly  pressed  against  the  rotating  object,  so  as  to  detach  a point 


INDUSTRIAL  ART. 


483 


here  and  there.  This  is  repeated  with  sticks  of  different  colors,  and  when  suf- 
ficient color  has  been  laid  on,  the  object  is  polished  with  bamboo  edges  and 
oiled  rags. 

Here  also  are  musical  instruments,  a horn,  wind  instruments,  instruments 


yewel  Casket:  Salvo  6^  Co.,  Genoa. 


of  percussion,  and  a kettle-drum  ; a saddle  and  several  pieces  of  pottery  from 
Scinde.  The  method  of  making  this  ware,  according  to  the  authority  already 
referred  to,  is  to  shape  the  vessels  on  the  wheel  while  the  clay  is  damp  and 
dough-like.  After  the  vessels  have  dried,  they  are  again  put  on  the  wheel,  and 


484 


THE  INTERNATIONAL  EXHIBITION,  1876. 


finished  by  means  of  an  iron  tool.  The  vessels  having  been  sun-dried,  may 
then  be  sent  to  the  kiln,  after  which  the  required  pattern  is  traced  on  them  in 
the  following  manner : A perforated  paper  pattern  is  placed  upon  the  article, 
and  powdered  charcoal  sprinkled  over  it.  On  removing  the  paper,  the  pattern 
remains  on  the  earthenware,  and  is  then  brushed  over  with  a solution  called 
“sahree”  (a  paste  made  from  a peculiar  kind  of  clay  mixed  with  water).  When 
this  is  dry,  glaze  of  the  required  color  is  prepared  and  poured  over  it,  the  article 
is  then  allowed  to  dry  again,  after  which  it  is  placed  in  the  glazing-kiln,  and 
subjected  to  the  required  amount  of  heat.  The  articles  are  not  removed  until 
the  kilns  are  cold. 


Other  objects 
in  this  group 
are  an  idol  of 
carved  stone, 
specimens  of 
dyed  matting 
and  bamboo, 
and  a frame 
paintedinastyle 
illustrativeof  In- 
dian architectu- 
ral decoration. 


steel  Casket : M.  E.  Phitlipe,  Paris. 


Another  ex- 
ample of  Geno- 
ese goldsmith- 
work, by  Messrs. 
Salvo  & Co.,  is 
the  beautiful  in- 
laid Jewel  Cas- 
ket, illustrated 
on  page  483. 
Our  readers  will 
remember  the 
filieree  Card- 


Case,  manufactured  by  this  firm,  which  we  illustrated  on  page  479,  as  a specimen 
of  a characteristic  and  favorite  style  of  workmanship  in  Italian  personal  orna- 
ments and  small  objects  in  the  precious  metals  ; but  this  casket  is  ornamented 
in  a way,  though  commonly  practised  among  oriental  nations,  unusual  in  Europe, 
and  as  such  is  noteworthy.  The  panels  on  the  sides  of  the  box,  as  well  as 
those  on  the  lid,  are  covered  with  delicate  scroll  traceries,  figures  and  gro- 
tesques, inlaid  with  white  metal  in  the  bronze.  This  was  done  by  first  engraving 
the  design  to  be  inlaid  in  the  surface  of  the  bronze  and  cutting  out  the  spaces 
to  be  inlaid.  The  metallic  composition  was  then  melted  and  poured  over  the 
bronze  so  as  to  fill  these  lines  and  spaces.  When  the  metal  has  cooled,  the 
surface  is  rubbed  down  and  polished,  and  the  sharp  edges  of  the  bronze  closed 
down  about  the  inlav,  so  as  to  make  the  two  metals  adhere  closely  together. 


INDUSTRIAL  ART. 


485 


On  the  same  page  we  engrave  a Casket,  made  by  Elkington  & Co.,  oe 
Birmingham,  England,  that,  besides  some  beautifully  modeled  figures  in  the 
round  and  in  repousse,  is  farther  ornamented  with  work  that  resembles  the 
inlaying  described  above,  but  which  is  a variety  of  damascening.  Here  the 
design  is  cut  according  to  the  pattern  in  the  surface  of  the  metal  to  be  deco- 


EnameUd  Plaque  : Russian  Court.  Enameled  Antique  Reproduction  : Elkington  Co.,  Birmingham. 


rated,  after  which  a thin  plate  of  gold  is  laid  over  the  design,  and  hammered 
and  burnished  into  it,  forcing  down  the  edges  of  the  enclosing  metal,  obliter- 
ating the  incisions,  and  restoring  the  original  polish.  The  Messrs.  Elkington 
exhibited  several  methods  of  damascening  in  their  superb  display  of  metal- 
work. Beside  that  just  described,  there  were  examples  of  damascening  by 
simply  gilding  the  surface  with  gold-leaf,  and  fixing  it  to  the  metal  by  bur- 
nishing. A third  method  was  by  incrustation,  a process  in  which  channels  are 
cut  in  the  metal,  into  which  gold  or  silver  wire  is  hammered  and  afterwards 


486 


THE  INTERNATIONAL  EXHIBITION,  1876. 


nibbed  down.  The  most  artistic  and  elaborate  of  these  damascenings,  shown 
by  the  Elkingtons,  are  not  their  own  work,  but  are  done  for  them  in  Spain, 
by  the  metal-sculptor  Zoloaga,  who  is  unrivaled  in  this  particular  branch  of 
his  art. 

Among  French  goldsmiths  this  kind  of  work  is  largely  practised,  and  in 
some  instances  with  distinguished  success.  A particularly  fine  example,  made 
by  M.  E.  Phillipe,  of  Paris,  is  the  Steel  Casket,  engraved  on  page  484.  The 
tracing  in  this  design  is  of  the  most  elaborate  character  and  exquisitely  minute, 
yet  each  hair-stroke  of  the  graver  has  its  complement  of  gold  inlay  welded,  so 
to  speak,  into  the  steel  surface. 

On  page  485  we  engrave  two  specimens  of  enameled  metal -work,  from 
Russia — a specialty  in  the  display  of  the  goldsmith-work  of  that  nation  that 
attracted  universal  admiration.  The  official  report  on  this  department  of  the 
Exhibition  says  of  this  work  that  “the  radiant  beauty  of  the  gem-like  enameling 
upon  gold  and  silver  and  gilded  silver  utensils  in  Greek,  Byzantine  and  Russian 
taste,  were  such  marvelous  illustrations  of  the  capabilities  and  truly  artistic 
fancy  of  Russian  artisans  as  would  have  awakened  the  enthusiasm  of  a Benve- 
nuto Cellini  and  that  of  the  historical  Palissy,  the  famed  enameler  of  Limoges.” 
Higher  praise  than  this  could  not  readily  be  expressed,  and  in  truth  one  rarely 
finds  such  superlative  expressions  used  officially.  Certain  it  is,  however,  that 
the  Russian  enamels  were  exceedingly  brilliant,  and  some  of  them,  especially 
the  translucent  enamels,  gorgeous  in  color,  and  often,  indeed,  “gem-like”  in 
effect.  The  artistic  excellence  of  the  designs  showed  that  Russian  artisans 
possess  decided  talent  of  an  original  kind,  as  well  as  the  ability  to  design  in 
the  more  refined,  if  less  vigorous,  styles  of  Western  and  Southern  Europe. 

On  pages  487  and  488  we  engrave  the  Aurora  and  Crepuscule  Plaques, 
made  by  the  Messrs.  Elkington  & Co.,  of  Birmingham,  England,  which,  though 
the  last  of  our  series  of  illustrations  of  the  art  metal- works  of  this  famous  firm 
in  the  Exhibition,  are  deservinof  to  rank  in  artistic  design  and  skilful  execution 
with  the  best  of  their  more  elaborate  works  which  we  have  already  engraved. 
The  design  of  the  plaques  suggest  Thorwalsden’s  famous  “Night  and  Morning,” 
but  there  is  nothing  more  than  the  suggestion.  The  composition  is  original  if 
the  idea  is  not,  and  the  modeling  of  the  figures  is  exquisite.  They  have  the 
rare  proportions  and  matchless  symmetry  of  classical  forms,  expressed  with  rare 


INDUSTRIAL  ART. 


487 


individuality  and  grace.  One  does  not  know  which  to  admire  the  more — the 
bright  sunlit  atmosphere  and  animated  expression  in  the  Aurora,  or  the  subdued 
twilight  effect,  the  reposeful  feeling  pervading  the  Crepuscule,  It  is  marvelous 
to  think  that  these  forms  of  beauty  have  been  beaten  into  shape,  blow  by  blow, 
with  a hammer — each  stroke  upon  the  snarling-iron  making  an  indentation  in 


Aurora  Plaque : Elkingioji  <&=  Co.,  Birmingham. 

the  metal  which  produces  finally  the  raised  design.  Simple  as  it  is  in  itself,  we 
would  direct  the  reader’s  attention  to  the  plain  steel  band,  studded  with  stars, 
around  the  central  medallion,  as  one  of  those  fine  touches  where  the  highest 
art  is  shown  by  the  use  of  the  simplest  methods.  The  rounded  rims  of  these 
plaques,  which  form  a shield  for  the  surface  of  the  central  design,  are  enriched 
with  a damascened  foliated  scroll  figure,  sufficiently  rich  and  graceful  to  make  a 
harmonious  setting,  but  not  so  elaborate  as  to  distract  the  attention  from  the 
subject  of  which  they  are  only  the  frames. 


488 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Crepuscule  Plaque:  Elkington  Co.,  Birmingham. 

examples — though  few — of  American  jewelry  equaled  those  of  any  other  nation 
as  to  display  of  taste,  mechanical  execution,  or  quality  of  material.” 

The  Peacock’s  Feather,  which  forms  the  central  object  of  the  group  on 
page  489,  was  one  of  the  most  elaborate  pieces  of  diamond  jewelry  shown  in 
the  Exhibition.  It  is  intended  to  be  worn  as  an  ornament  for  the  hair,  and  the 
back  shows  an  elaborate  net-work  of  gold,  with  numberless  interstices  through 
which  the  play  of  light  may  add  brilliancy  to  the  diamonds.  The  eye  of  the 
feather  is  formed  of  a single  stone  of  peculiar  brilliancy  and  beauty,  which  has 


Our  engraving  on  page  489  of  Jewelry,  diamonds  and  other  precious  stones, 
set  in  the  precious  metals,  from  the  exhibits  in  the  United  States  Department 
at  the  Exhibition,  worthily  illustrates  a branch  of  manufacture  in  which  American 
work  shows  an  artistic  skill  and  excellence  worthily  comparable  with  the  best 
that  Europe  can  show.  The  official  report  certifies  to  the  fact  that  “the  better 


INDUSTRIAL  ART. 


489 


been  long  known  to  connoisseurs  as  the  Brunswick  yellow  diamond.  It  was  a 
favorite  gem  of  the  eccentric  Duke  of  Brunswick,  and  he  is  said  to  have  refused 


Jewelry:  United  States  Court,  Main  Building. 


twelve  thousand  pounds  sterling  for  it.  The  color  is  a delicate  lemon  yellow, 
little  unlike  the  brownish  “off  color”  of  the  African  stones  that  have  become 


490 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 7 6. 


so  plentiful  within  the  last  few  years.  On  the  death  of  the  Duke,  his  vast 
collection  of  jewels  was  sold  at  auction  in  Geneva,  and  this  stone  was  then 
purchased  by  one  of  the  house  of  Tiffany  & Co.  Immediately  surrounding 
this  singular  gem,  which  weighs  thirty  carats,  is  a circlet  of  smaller  diamonds, 
nearly  like  the  central  stone  in  color.  The  outer  circle  of  the  setting  of  these 
gems  is  of  red  gold  with  a fringe  of  platinum,  and  the  effect  of  the  combina- 
tion of  colors  is  highly  pleasing.  Though  the  setting  is  heavy  enough  to  be 


Faience:  Count  von  Thun,  Austria. 


perfectly  strong,  an  unusual  lightness  and  feathery  appearance  is  produced  by 
means  of  numerous  joints  and  springs  which  cause  a quivering  movement  at 
the  slightest  vibration,  and  reflect  the  light  in  a myriad  of  scintillating,  dazzling 
points.  This  superb  jewel  contains  six  hundred  diamonds,  and  may  well  be 
regarded  as  a masterpiece  of  diamond-setting. 

Among  the  other  specimens  of  jewelry  on  this  page  are  a pair  of  perfectly 
matched  diamonds,  of  the  first  water,  set  as  solitaires  for  ear-rings  in  as  deli- 
cate a manner  as  is  consistent  with  security.  A favorite  style  of  jewelry  at  the 
present  time  are  the  flower  shapes  and  patterns  shown  in  our  illustration.  Some 
of  these  are  exquisite,  as  where  a diamond  simulates  a drop  of  dew  upon  a 
leaf,  or  where  pearls  are  so  set  as  to  appear  like  snowdrops  or  berries.  On 


INDUSTRIAL  ART. 


491 


Carpet  : Tompkinson  &•  Adams,  Kidderminster. 


one  leaf  is  an  insect,  its  body  of  gems  as  resplendent  in  color  as  Nature’s  own 
handiwork. 

On  page  490  we  engrave  three  pieces  of  ornamental  Faience  from  the 
exhibit  of  Count  von  Thun,  made  at  his  potteries  in  Klosterie,  Bohemia,  and 


492 


THE  INTERNATIONAL  EXHIBITION,  1876. 


shown  in  the  Austrian  Court  at  the  Centennial.  These  works  show,  in  several 
respects,  the  good  influence  of  the  Imperial  Austrian  Museum  of  Art  and 
Industry,  at  Vienna,  and  are  especially  noteworthy  for  the  excellence  of  their 


contours  and  the  vig- 
orous modeling  of  the 
relief  ornamentation. 
The  vase  on  the  right 
hand  of  this  group 
was  one  of  the  most 
brilliant  pieces  of 
color  decoration  in 
the  Count  von  Thun’s 
collection,  and  a tri- 
umph of  the  potter’s 
skill  in  this  regard. 
The  designs,  too,  are 
rich  and  elegantly 
conceived,  and  the 
handles,  in  the  shape 
of  leaf- tendrils,  are 
charmingly  conven- 
tionalized. 

The  Kiddermin- 
ster Carpet,  manu- 
factured by  Tompkin- 
SON  & Adams,  shown 
in  our  engraving  on 
page  491,  illustrates 
so  admirably  the  new 
principles  of  orna- 


Cabinet : English  Court. 


mental  design  formu- 
lated by  the  South 
Kensington  Museum 
School  and  other 
places  of  a like  na- 
ture in  England,  that 
a reference  to  some 
of  these  principles,  as 
laid  down  by  a writer 
of  recognized  author- 
ity, Gilbert  R.  Red- 
grave, who  was  for 
some  time  Inspector- 
General  for  Art, 
Science  and  Art 
Department,  South 
Kensington,  will  be 
interesting  and  in- 
structive in  this  con- 
nection. 

In  his  “Manual 
of  Design,”  a book 
which  all  students  of 
the  subject  should 
carefully  peruse,  Mr. 
Redgrave,  speaking 
of  paper  and  other 


hangings,  says  that  if  the  use  of  such  materials  is  borne  in  mind,  the  proper  deco- 
ration for  them  will  at  once  be  evident,  since  materials  of  this  class  ought  to 
bear  the  same  relation  to  the  objects  in  the  room  that  a background  does  to  a 
picture.  In  art,  a background,  if  well  designed,  has  its  own  distinctive  features. 


INDUSTRIAL  ART. 


493 


yet  these  are  to  be  so  far  suppressed  and  subdued  as  not  to  invite  especial 
attention ; while  as  a whole  it  ought  to  be  entirely  subservient  to  supporting 
and  enhancing  the  principal  figures — the  subject  of  the  picture.  The  decoration 
of  a wall,  if  designed  in  good  principles,  has  a like  office:  it  is  a background 
to  the  furniture,  the  objects  of  art,  and  the  occupants  of  the  apartment.  This 
law  applies  in  the  same  measure  to  carpets.  The  use  of  these  fabrics  suggests 
the  true  principle  of  design  for  their  ornamentation.  Flatness  should  be  one 
of  the  principles  in  decorating  a surface  continually  under  the  feet;  therefore 
all  architectural  relief  ornaments,  and  all  imitations  of  fruit,  shells,  and  other 
solid  or  hard  substances,  or  even  of  flowers,  strictly  speaking,  are  the  more 
improper  the  more  imitatively  they  are  rendered.  As  a field  or  ground  for  other 
objects,  the  attention  should  hardly  be  called  to  carpets  by  strongly  marked 
forms  or  compartments,  or  by  violent  contrasts  of  light  or  dark,  or  color;  but 
graduated  shades  of  the  same  color,  or  a distribution  of  colors  nearly  equal  in 
scale  of  light  and  dark,  should  be  adopted  — secondaries  and  tertiaries,  or 
neutralized  primaries,  being  used  rather  than  pure  tints,  and  lights  introduced 
merely  to  give  expression  to  the  forms.  Under  such  regulations  as  to  flatness 
and  contrast,  either  geometrical  forms,  or  scrolls  clothed  with  foliations  in  any 
style,  leaves,  flowers  or  other  ornament,  may  be  used,  which,  with  borders  and 
compartment  arrangements,  and  the  use  of  diaper  treatments,  leave  ample  room 
for  variety  and  for  the  inventive  skill  of  the  artist.  The  soundness  of  these 
principles  will  be  manifest  to  all  who  give  the  subject  of  design  proper  con- 
sideration, and  no  better  proof  of  the  fact  that,  working  strictly  within  these 
limits,  beautiful  things  can  be  accomplished,  is  needed  than  the  illustration  before 
us.  The  design  for  this  carpet  answers  the  requirements  above  stated  exactly, 
and  every  one  can  see  for  himself  how  satisfactory  is  the  result. 

The  American  exhibit  of  furniture  at  the  Centennial  was  especially  remark- 
able for  the  superiority  of  its  machine-work  and  the  astonishing  number  of 
ingenious  contrivances,  patents,  all  of  them,  in  the  way  of  folding  pieces,  which, 
when  not  in  use,  looked  like  anything  but  what  they  really  were,  and  often, 
indeed,  answered  several  entirely  distinct  purposes.  Some  of  the  machine-made 
furniture  was  of  a very  high  grade  of  excellence,  though  not  equal  to  the  hand- 
made, and  in  some  of  the  latter  the  beauty  and  fitness  of  the  carving  and  other 
ornaments  was  but  little  inferior  to  that  of  European  nations,  and  more  graceful 


494 


THE  INTERNATIONAL  EXHIBITION,  1876. 


in  outline,  if  less  cor- 
rect in  form  and  ap- 
plication, than  that 
of  Enofland.  But 
where  our  manufac- 
turers were  most 
deficient  was  in 
honesty  and  strength 
of  construction,  and 
in  these  particulars 
English  furniture 
was  superior  to  all 
other  nations.  Even 
in  a light  and  deli- 
cate article,  like  the 
Cabinet  illustrated 
on  page  492,  the 
joinery  was  of  the 
best,  and  an  exami- 
nation of  the  con- 
struction showed 
that  the  work  was 
done  thoroughly 
throughout.  This, 
however,  is  not  all 
that  recommends 
this  particular  ob- 
ject to  the  reader’s 
attention,  for  it  is  a 
charmingly  orna- 
mental piece  of  fur- 
niture as  well,  admi- 
kinds  command  prices 
taken  many  years  to 


rably  proportioned, 
graceful  in  outline, 
and  ornamented 
with  taste  and  judg- 
ment. The  panels 
in  the  doors  of  this 
cabinet  are  exquis- 
itely painted  with 
figures  on  a gold 
ground.  This  sort 
of  panel  - painting, 
whether  on  wood  or 
clay,  makes  a very 
effective  ornamenta- 
tion for  furniture, 
and  we  are  glad  to 
observe  that  it  is 
becoming  popular 
in  this  country. 

On  this  page  we 
engrave  a Brussels 
Lace  Border,  chosen 
from  the  unrivaled 
exhibit  of  laces  in 
the  Belgian  Court 
at  the  Centennial. 
The  lace  of  this 
country  has  long 
been  remarkable  for 
several  special  ex- 
cellences in  itsmanu- 
facture,and  thefinest 
that  are  beyond  most  purses.  Some  small  articles  have 
make,  the  worker  wearing  out  health  and  eyesight  in 


Lace  Border:  Collective  Exhibit  of  Brussels. 


INDUSTRIAL  ARl 


495 


accomplishing  her  task.  But  of  late  years  machinery  has  been  applied  to  this 
manufacture  with  great  success,  and  so  perfectly  have  hand-made  laces  been 


Lace  Curtain : yacoby,  Nottingham. 


imitated  that  none  but  an  expert  can  detect  the  difference.  Indeed,  in  many 
localities  hand-labor  has  been  entirely  discarded  for  that  of  machine.  On 


496 


THE  INTERNATIONAL  EXHIBITION,  1876. 


Cashmere  Shawl:  Exhibit  of  Saxony. 


IND  USTRIAL  ART. 


497 


page  495  we  engrave  a charming  design  of  machine-made  Nottingham  Lace, 
intended  for  a curtain,  from  the  well-known  factory  of  Jacoby,  in  Nottingham. 
Some  of  the  patterns  in  these  favorite  laces  are  of  an  elegance  that  leaves 
nothing  to  be  desired,  and  not  their  least  admirable  peculiarity  is  their  cheapness. 

The  Cashmere  Shawl,  illustrated  on  page  496,  differs  only  from  a shawl 
made  in  Cashmere,  in  that  it  is  made  in  Saxony  and  by  machinery.  The 
material  is  pershon,  or  shawl-wool ; that  is,  the  downy  substance  growing  next 
the  skin  and  under  the  thick  hair  of  the  goats  inhabiting  Thibet  and  the  other 
elevated  regions  to  the. north  of  the  Himalaya  Mountains;  and  the  pattern  is 
similar  to  those  wrought  with  such  labor  and  patience  in  the  hand-looms  of 
India.  Here,  again,  as  in  the  case  of  the  lace  manufacture  just  referred  to, 
the  aid  of  machinery  has  been  sought  to  imitate  the  labor  of  the  hands,  and 
to  such  perfection  have  shawl-making  machines  been  brought  that  one  who  is 
not  an  expert  cannot  detect  any  difference  in  the  fabrics.  Doubtless  many 
persons  having  so-called  Cashmere  shawls  congratulate  themselves  on  having 
a genuine  hand-made  chuddah  that  cost  an  astonishingly  low  price,  when  in 
truth  it  is  one  of  these  machine-made  European  imitations  that  has  been  sold 
at  an  excellent  profit  to  the  manufacturer. 


THE  LESSON  OF  THE  EXHIBITION. 

Among  all  the  educational  movements  which  have  arisen  in  this  country 
during  the  last  decade,  none  has  seemed  to  be  so  completely  in  harmony  with 
the  spirit  of  the  times  as  education  in  the  elements  of  industrial  art.  As  wealth 
and  European  travel  have  increased,  a taste  for  the  skilled  handiwork  of  foreign 
craftsmen  has  been  rapidly  developed  among  our  people,  and  the  desire  to 
become  the  possessors  of  elegant  objects  to  make  home  attractive  has  amounted 
almost  to  a passion.  This  alone  is  sufficient  to  account  for  the  somewhat 
anomalous  spectacle,  that  the  houses  of  opulent  and  even  moderately  rich 
Americans  are  usually  furnished — not  merely  ornamented,  but  furnished — with 
objects  and  materials  of  foreign  product. 

In  every  country  in  the  world  may  be  found  among  the  surroundings  of 
wealthy  travelers  gleanings  of  rare  or  curious  objects  collected  from  other 


498 


THE  INTERNATIONAL  EXHIBITION,  1876. 


countries,  but  these 
have  a well-defined  po- 
sition entirely  apart 
from  what  we  have 
referred  to  as  the  fur- 
niture of  a house. 

It  is  questionable 
whether  we  could  find 
in  any  other  country  so 
general  a fashion  as 
that  which  prevails 
here,  of  furnishing  the 
best  houses,  from  for- 
eign sources,  with  all 
objects  implying  in 
their  design  and  manu- 
facture the  highest 
taste  and  the  most  ex- 
perienced skill  in  exe- 
cution. 

Such  a condition  of 
things  as  this  is  neither 
creditable  to  the  enter- 
prise of  manufacturers 
nor  profitable  to  so- 
ciety from  a purely 
economical  point  of 
view.  If  with  a severe 
protective  tariff  main- 
tained for  the  purpose 
of  excluding  foreign 
manufactures,  it  is  still 
to  be  found  that  they 
are  here,  competing 


Swedish  Ornamental  Iron  Door. 


more  than  successfully 
with  native  products  in 
industrial  art,  and  prac- 
tically monopolizing  the 
vast  sums  annually  ex- 
pended on  objects  of 
use  and  ornament  by 
the  ever-increasing 
wealthy  classes,  there 
must  be  some  radical 
deficiency  either  in  our 
manufactures  or  our 
education  which  per- 
mits so  remarkable  a 
circumstance. 

The  simplest  ex- 
planation of  this  may 
be  found  in  the  ab- 
sence of  opportunities 
for  the  development 
of  skilled  labor  in 
America.  Whilst  other 
countries  have  been 
establishing  schools 
and  institutions  for 
secondary  education, 
thereby  ensuring  for 
their  industries  and 
manufactures  the  po- 
tent influence  of  skill 
and  knowledge  in  art 
and  science,  we  have 
been  content  to  go  on 
inventincr  labor-saving 


INDUSTRI AL  ART. 


499 


machines  and  pro- 
cesses, and  neglecting 
the  technical  education 
of  the  people  ; regard- 
less of  the  fact  that  in 
this  rapidly  progress- 
ing  age,  labor  without 
taste  or  skill  is  a com- 
paratively worthless 
thing,  and  is  paid  for 
at  the  lowest  price. 
On  the  other  hand,  the 
products  of  skilled  la- 
bor are  like  currency 
in  every  civilized  coun- 
try, and  are  paid  for 
at  the  highest  price. 
It  matters  nothing 
whether  they  are  to 
be  found  in  Paris, 
London,  Berlin,  Mu- 
nich, Rome,  or  Japan, 
they  will  be  sought  for 
and  secured  at  any 
price  by  those  who 
have  the  taste  to  ap- 
preciate and  the  means 
to  buy  them. 

It  is  of  such  ideas 
as  these  that  Inter- 
national Exhibitions 


Beauvais  Tapestry. 


are  the  offspring.  The 
world  is  competing 
more  in  the  produc- 
tion of  quality  than 
quantity,  and  raw  ma- 
terial in  the  bulk  is 
getting  to  be  a less 
precious  freight  than 
the  triumphs  of  the 
studio,  the  furnace  or 
the  loom.  Thoughtful 
men  begin  to  see  that 
the  mere  power  of 
production  in  indus- 
trial manufactures,and 
even  the  exceptional 
advantage  of  a closely 
protected  and  exten- 
sive home  market  for 
their  consumption,  are 
not  of  themselves 
alone  sufficient  to  defy 
competition  and  se- 
cure the  market.  They 
see  what  experience 
has  demonstrated,  that 
the  possession  of  natu- 
ral resources  is  not  of 
itself  sufficient  to  en- 
sure the  prosperity  of 
a people  under  the 


conditions  which  modern  civilization  has  imposed  on  the  different  races  of  men. 
The  productiveness  of  the  earth  and  the  wealth  of  raw  material  require  the 
transforming  hand  of  man,  skilled  in  the  arts  and  sciences,  to  change  these 


500 


THE  INTERNATIONAL  EXHIBITION,  1876. 


rich  gifts  of  nature  into  products  which  satisfy  the  needs  of  civilized  commu- 
nities. A country  which  possesses  abundance  of  the  raw  material  of  trade  and 
commerce,  but  whose  people  are  deficient  in  manufacturing  skill  or  the  taste 
which  directs  it,  must  of  necessity  be  inferior  to  another  country,  equally  blessed 
in  natural  resources,  but  whose  manufactures  are  directed  by  the  highest  influ- 
ences that  art  and  science  can  employ.  From  this  aspect  skill  becomes  a 
matter  of  the  highest  importance,  and  its  general  development  and  application 

tion  of  art  and 
science,  to  place 
us  on  an  equality 
with  the  older 
nations  in  the 
application  of 
trained  skill  to 
the  elevation  of 
industrial  manu- 
factures. 

We  cannot  ex- 
port corn  and  oil 
and  cotton  and 
pork,  and  import 
French  bronzes, 
or  German  por- 
celain, or  English 

carpets,  without  being  the  sufferers;  for  the  year’s  work  of  six  men  in  pro- 
ducing such  exports  will  hardly  pay  for  the  year’s  work  of  one  skilled  artisan 
whose  imported  handiwork  we  appreciate  and  buy.  Just  to  that  extent  we  are 
the  losers,  and  with  this  view*  it  would  seem  to  be  our  duty  to  provide  our 
working  and  productive  citizens  with  such  opportunities  of  acquiring  skill  as 
will  place  them  on  an  equality  with  their  compeers  in  other  countries  of  the 
world,  thus  ensuring  to  them  an  equality  of  productive  power  and  value  for 
their  labor  to  that  possessed  by  the  same  classes  in  other  countries. 

It  needs  but  the  example  offered  by  France  to  convince  us  how  great  a 
strain  any  country  can  bear  whose  industries  are  fortified  by  skilled  labor. 


the  surest  mate- 
rial foundation 
for  a nation’s 
prosperity. 

The  diffusion 
of  a sound  sys- 
tem of  general 
education  is  con- 
sidered to  be  the 
surest  safeguard 
of  liberty  and 
independence. 
What  we  now 
need  is  a de- 
velopment of 
general  educa- 
tion in  the  direc- 


Hhawl : Compagnie  dcs  Indes. 


INDUSTRIAL  ART. 


501 


Perhaps  no  other  country,  with  possibly  one  exception,  could  have  paid  the 
penalty  of  milliards  of  money  for  foreign  aggression,  besides  bearing  the  enor- 
mous cost  of  her  own  military  operations,  without  becoming  ruined  and  undone. 
Yet  to-day  the  skilled  manufactures  of  France  are  righting  the  country,  and  - 
with  the  power  of  supremacy  in  taste  she  claims  tribute  from  the  whole  world. 

The  periodical  occurrence  of  International  Exhibitions  enables  us  to  see  the 
relative  progress  made  by  different  nations  in  the  broad  fields  of  industrial  art 


and  science,  and 
to  those  who 
have  been  fortu- 
nate enough  to 
watch  this  pro- 
gress from  the 
first  exhibition  in 
London,  in  1851, 
to  the  last  in 
Philadelphia,  in 
1876,  the  changes 
made  have  been 
very  great.  The 
present  is  pre- 
eminently an  age 
of  revival  in  art 
in  many  of  the 


S/iiiw/ : Compagnie  des  hides. 


old  countries, and 
the  influence  of 
such  exhibitions 
as  that  we  have 
enjoyed  this  year 
has  been  to  en- 
courage such  re- 
vivals, and  create 
a general  love 
of  art  where  it  is 
not  an  ancient 
story. 

It  is  not  too 
much  to  say  that 
in  the  exhibits 
of  every  country 
participating  in 


these  general  displays,  there  has  been  evidence  of  a striking  improvement,  as 
each  exhibition  succeeded  the  last,  in  all  the  sections  containing  objects  of 
industrial  art.  The  example  of  successful  manufacturers  and  the  masterpieces 
of  designers  have  influenced  the  enterprise  and  skill  of  those  whose  success, 
through  want  of  sufficient  skill,  has  not  been  what  they  desired. 

The  objection  which  some  manufacturers  have  raised  against  International 
Exhibitions,  that  they  gave  opportunities  for  the  weak  to  imitate  the  strong, 
and  placed  the  accumulated  experience  and  success  of  the  few  at  the  service 
of  the  many,  must  be  regarded  as  a powerful  argument  in  favor  of  such 
displays,  from  every  point  of  view,  including  that  of  the  successful  manufac- 


502 


THE  INTERNATIONAL  EXHIBITION,  1876. 


turer.  With  a knowledge  drawn  from  observation  of  many  such  exhibitions, 
we  do  not  hesitate  to  say  that,  whatever  progress  may  have  been  made  between 
one  exhibition  and  another,  by  those  who  may  have  found  need  for  improve- 
ment, those  who  have  held  a leading  position  in  any  one  have  seldom  forfeited 
it  at  a subsequent  exhibition,  except  by  their  own  consent.  The  general  eleva- 


Cloisotine  Enamel  Plaque. 


tion  of  taste  has  created  a higher  and  sounder  appreciation  of  really  good 
work,  and  it  is  as  possible  for  those  who  have  done  good  work  to  advance  to 
better  and  best,  as  for  those  who  have  done  bad  work  to  progress  into  good 
and  better. 

The  highest  success  in  any  branch  of  industrial  art  is  never  the  result  of 
a secret  that  can  be  kept  from  the  rest  of  the  world  by  its  inventor,  and  all 
efforts  to  conceal  any  detail  or  process  characteristic  of  good  work  must  be 
unsuccessful  if  the  work  itself  is  to  be  generally  appreciated.  Even  in  fine 


INDUSTRIAL  ART 


503 


art,  faith  in  modes  and  processes,  as  influencing  the  production  of  excellent 
works,  or  accounting  for  their  excellence,  may  be  reckoned  amongst  the  lost 
creeds.  Sir  Joshua  Reynolds  making  a section  of  a picture  by  an  older  master, 
or  successively  removing  each  coat  or  painting  of  it,  from  the  varnish  to  the 
canvas,  in  order  to  find  out  the  processes  by  which  it  was  produced,  is  only  a 
refined  imitation  of  the  boy  who  made  a surgical  investigation  within  the  interior 
of  a pair  of  bellows  to  find  out  where  the  wind  came  from.  The  process  of 


French  Enameled  Eases. 


painting  had  as  little  to  do  with  the  beauty  and  attractiveness  of  the  picture  as 
with  the  same  features  of  Sir  Joshua’s  own  work  ; and  whilst  the  world  is  daily 
and  hourly  increasing  its  love  for  and  appreciation  of  the  pictures  produced  by 
the  first  president  of  the  English  Royal  Academy,  all  lovers  of  art  must  regret 
the  useless  experiments  made  by  him,  which  have  resulted  in  the  premature 
decay  and  destruction  of  many  of  his  most  beautiful  works.  A fruitless  effort 
to  discover  and  take  advantage  of  a secret  when  there  was  none  to  be  found, 
sacrificed  much  of  his  own  work  which  would  otherwise  have  been  equally 
permanent,  and,  as  many  would  think,  equal  also  in  beauty,  to  the  subject  of 
his  inquiry.  Still  less  can  monopoly  of  industrial  art  in  any  of  its  departments 


504 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 7 6. 


be  maintained  by  the  nursing  of  imaginary  secrets  which  exclusive  or  narrow- 
minded people  fancy  they  have  discovered,  nor  is  there  any  protection  to  be 
found  on  this  earth  for  people  who  wish  to  stand  still  themselves  and  desire 
the  rest  of  the  human  race  to  imitate  their  example. 

The  safeguard  of  the  successful  manufacturer,  or  of  national  pre-eminence 
in  industrial  art,  must  be  the  continued  application  of  the  skill  and  foresight 
which  achieved  the  success  or  conferred  the  pre-eminence.  Even  the  world 
itself  is  no  loncrer  laro^e  enouCTh  for  a man  to  hide  in,  and  there  is  no  hole  or 
corner  in  it  where  a secret  can  be  kept.  People  do  not  now  speak  of  the  steel 
of  Toledo  or  the  silk  of  Genoa,  because  wherever  silk  or  steel  is  required, 
with  motive  sufficient,  it  will  be  forthcoming.  Behind  this  world-wide  reputation 
for  the  production  of  excellent  work,  there  was  something  more  influential  than 
good  material  in  the  possession  of  its  producers.  The  skill  and  craftsmanship 
they  were  masters  of  constituted  the  open  secret  of  their  success,  and  conferred 
upon  them  a pre-eminence  which  could  never  be  taken  away  except  by  superior 
workmen  in  their  own  crafts.  So  it  is  with  the  modern  representatives  of  the 
ancient  craftsmen,  the  manufacturers  who  supply  our  thousands  and  millions  of 
people  with  the  necessities,  comforts  or  adornments  of  civilized  life.  No  refusal 
to  take  part  in  an  International  Exhibition,  for  fear  of  having  their  designs  or 
styles  pirated  or  imitated,  can  protect  them  from  the  aggressiveness  of  equal 
or  greater  skill  than  their  own,  and  less  skill  they  do  not  fear. 

In  the  general  diffusion  of  education,  which  is  perhaps  the  marked  pecu- 
liarity of  the  nineteenth  century,  and  in  the  development  of  special  or  technical 
education  in  many  countries,  we  may  look  for  a sufficient  cause  why  the  skilled 
industries  of  the  world  are  becoming  more  appreciated  and  more  universal. 
Modern  facilities  of  locomotion  and  transportation  will  eventually  equalize  the 
different  quarters  of  the  world,  so  far  as  the  possession  of  raw  material  is 
concerned,  leaving  nothing  as  a field  of  competition  except  the  application  of 
scientific  and  artistic  skill  in  design  and  manufacture,  whilst  education  will  there- 
fore create  the  demand  for  good  work,  and  scientific  inventions  have  practically 
abolished  the  barriers  of  distance  and  advantages  of  locality;  there  yet  remains, 
as  subject  for  competition,  the  pre-eminence  in  industrial  art  of  a higher  standard 
which  a more  highly  educated  race  will  require  in  the  future. 

The  modern  International  Exhibition  of  Arts  and  Sciences  is  the  embodi- 


INDUSTRIAL  ART. 


505 


ment  of  a generous  and  peaceful  rivalry  in  the  production  of  the  excellent,  and 
a full  participation  in  these  contests  indicates  a healthy  vitality,  displaying  both 
the  desire  to  learn  and  the  desire  to  teach.  The  world  going  to  one  school- 
house,  every  country  to  be  ranked  according  to  its  attainments  and  merits, 
prepared  to  learn  from  others  what  it  does  not  know,  and  teach  to  others  what 
it  does  know,  committed  to  both  by  its  presence  at  school,  is,  to  say  the  least, 
a very  delightful  spectacle.  The  difference  in  race,  climate  and  history  of  the 
people  and  natural  products  of  the  several  quarters  of  the  globe  must  to  a 
great  extent  in  the  future,  as  in  the  past,  maintain  a wholesome  variety  in  their 
industries  and  arts,  but  the  influence  of  International  Exhibitions  will  probably 
result  in  modifying  many  essentially  national  peculiarities,  even  if  it  does  not 
end  in  the  assimilation  to  a common  standard  of  excellence  the  arts,  both  fine 
and  industrial,  of  all  progressive  races.  Such  an  assimilation  need  in  no  great 
degree  destroy  the  piquant  variety  stamped  on  a nation’s  products  by  its  indi- 
vidual genius,  for  so  long  as  any  nation  maintains  its  political  independence 
and  cherishes  its  past  history,  caring  with  a loving  hand  for  the  monuments 
and  masterpieces  of  art  which  its  ancestors  created,  and  handing  their  accumu- 
lated treasures  down  to  a posterity  for  whose  education  in  art  a thoughtful 
provision  is  made,  so  long,  a nation  is  in  no  danger  of  losing  its  individuality 
of  character  in  art-work.  This  however  Is  only  true  to  the  extent  that  its  art- 
work is  good,  for  the  inevitable  result  of  these  periodical  and  universal 
exhibitions  will  be  to  destroy  bad  art-work,  whether  of  a national  type  or 
appertaining  to  individual  effort. 

Conventions  of  nations  peacefully  competing  in  art  will  have  the  same 
experience  as  a congress  of  representatives  of  all  races  met  to  determine 
important  political  matters.  Each  delegate  will  be  expected  to  state  distinctly 
his  own  nation’s  views,  and  listen  with  courteous  attention  to  the  views  of  all 
the  other  representatives.  If  his  views  are  simply  clannish  or  actively  offensive, 
he  must  expect  them  to  be  canvassed  and  rejected;  if  broad  and  truthful,  they 
may  be  received  and  welcomed.  But  the  fact  that  such  a congress  is  held  is 
an  admission  that  every  member  has  something  to  learn,  and  may  have  much 
to  give  up  before  the  deliberations  are  completed.  The  public  opinion  of  the 
world  is  an  accomplished  fact,  and  though  different  nations  may  accept  It  in  a 
greater  or  lesser  degree,  they  cannot  wholly  ignore  it  or  set  it  at  defiance. 


5o6 


THE  INTERNATIONAL  EXHIBITION,  1876. 


So  in  the  universal  exhibitions,  at  which  may  be  seen  the  products  of  all 
civilized  races,  to  be  examined  and  studied  by  representatives  of  every  con- 
tributing race,  there  will  be  formed  a public  opinion  of  the  world  on  industrial 
art  displays,  which  will  generally  be  found  to  accept  the  good  and  reject  the  bad, 
wherever  it  comes  from,  and  these  universal  verdicts  will  be  in  the  main  as 
correct  as  the  judgments  of  any  other  tribunal.  A simply  barbarous  art  sub- 
jected to  the  critical  examination  of  the  whole  world  cannot  survive  the  test. 


however  remote 
may  be  the  coun- 
try displaying  it, 
or  however  its  prac- 
tice may  be  cher- 
ished as  the  ex- 
pression of  the 
people  producing 
it.  A bad  work 
of  art,  picture  or 
statue,  exhibited  in 
good  faith  by  its 
author,  who  thinks 
it  is  a good  work, 
placed  side  by  side 
with  an  excellent 
work,  will  teach  the 
producer  of  the 


Sevres  Vase. 


latter  nothing 
wrong,  but  its  own 
author,  capable  of 
improvement  as  he 
must  be,  will  be 
seriously  benefited 
by  the  comparison. 
The  same  results 
will  follow  a ju- 
dicious comparison 
of  the  industrial 
arts  of  all  nations. 
That  which  is  able 
to  undergo  the 
scrutiny  of  critics 
who  judge  from  as 
many  standpoints 
as  the  countries 


from  which  they  come,  if  it  establishes  for  itself  the  character  of  being  good, 
honest  and  skillful  work,  will  deserve  the  reputation  it  secures,  and  will  confer 
a benefit  on  the  producers  of  work  which  is  inferior  to  it  in  character.  On 
the  other  hand,  no  fictitious  reputation  nor  long-established  custom  can  hide 
from  a universal  jury  the  defects  which  a bad  work  has,  and  the  detection  of 
its  meretricious  character,  judged  by  itself  or  as  compared  with  work  recog- 
nized to  be  good,  is  as  certain  to  result  and  to  be  of  as  great  a service  to  art 
in  its  own  way  as  is  the  recognition  of  excellence.  By  this  action  the  provin- 
cialisms of  the  world  displayed  by  nations  will  eventually  be  made  to  disappear. 


INDUSTRIAL  ART. 


507 


and  its  skill  and  taste  become  an  universal  possession.  To  this  the  artistic  nations 
might  object  (as  the  selfish  manufacturers  rejoicing  in  a temporary  superiority 
might  object)  that  when  the  whole  world  is  skillful,  the  value  of  skill  will  dis- 
appear, and  that  what  is  the  property  of  every  country  will  be  of  no  particular 
advantage  to  any  one.  In  reply  we  should  say  that  some  things  are  so  precious 
and  so  necessary  to  perfect  human  happiness  that  the  mere  thought  of  monopo- 
lizing them  is  a crime  against  the  human  race,  whilst  the  more  completely  they 


are  possessed  and 
enjoyed  by  one, 
the  more  freely  are 
they  available  to 
every  human  crea- 
ture. If  every  coun- 
try in  the  world 
were  free  from  des- 
potism, would  lib- 
erty be  less  enjoy- 
able to  the  English 
race  ? Who  but  a 
knave  could  rejoice 
in  his  personal 
freedom  and  love 
to  hear  the  clank- 
ing of  his  neigh- 
bor’s fetters  ? Is 


Sevres  Vase. 


health  and  strength 
the  perquisite  of 
a few  who  would 
value  it  less  if  all 
were  healthy  and 
strong?  Is  there  not 
sunshine  enough  to 
rejoice  our  hearts 
and  go  all  round 
the  world  without 
depreciating  the 
value  of  sunshine  ? 
And  in  the  same 
manner  that  as 
liberty,  health  and 
sunlight  exist  for 
the  whole  world, 
and  can  be  univer- 


sally enjoyed  without  decreasing  their  value  to  any  individual,  so  good  art  may 
be  the  common  possession  of  all  peoples  without  a single  country  or  a solitary 
individual  being  injured  thereby. 

Let  it  therefore  be  acknowledged  that  the  general  elevation  of  industrial 
art  will  be  of  universal  benefit,  and  that  the  objectors  thereto  must  be  like 
those  who  would  monopolize  liberty,  health  and  sunshine,  and  other  common 
enjoyments,  and  we  shall  become  reconciled  to  International  Exhibitions,  and 
display  the  charity  which,  besides  being  a good  thing  in  itself,  is  said,  on  excel- 
lent authority,  to  cover  a multitude  of  sins. 


5o8 


THE  INTERNATIONAL  EXHIBITION,  1876. 


The  great  division  of  the  art  department  of  these  exhibitions  into  the  fine 
and  the  industrial,  enables  us  to  compare  the  resources  and  modes  of  expression 
peculiar  to  each.  This  display  of  -work  in  each  division  has  been  the  result 
of  development,  for  there  was  no  fine  art  section  in  the  Exhibition  of  1851. 


In  Paris,  in  1855, 
the  field  was  more 
comprehensive;  in 
London,  in  1862, 
the  fine  art  sec- 
tion was  quite  im- 
portant, whilst 
again  in  Paris,  in 
1867,  there  was 
not  only  fine  art 
but  antiquities.  In 
Vienna,  in  1873, 
the  educational 
department  was 
developed  into  a 
jDrominent  place, 
and  the  Philadel- 
phia display  left 
out  nothinor  that 

O 

other  exhibitions 
embraced,  and 
added  many  origi- 
nal features. 

The  general  dis- 
tinguishing char- 


Cut-Glass  Decanter. 


acteristic  of  the 
Centennial  Exhi- 
bition was  the  ex- 
cellence of  its 
industrial  depart- 
ment, very  far 
surpassing  the  col- 
lection of  works 
in  the  fine  art 
section.  This  was 
a natural  result 
of  the  contrary 
views  taken  of  the 
whole  scheme,  by 
this  country  on 
the  one  hand,  and 
by  the  rest  of  the 
world  on  the 
other. 

Outside  of  the 
United  States  the 
project  presented 
itself  as  intended 
to  develop  trade 
alone,  and  so  we 


found  that  only  one  European  Government  went  beyond  this  commercial  view 
and  sent  a national  collection  of  fine  art  works.  It  should  not  be  forgotten 
that  England  alone,  through  its  Government,  participated  with  America  in 
regarding  its  Centennial  Exhibition  not  only  as  a trade  speculation,  but  as  a 
celebration  of  the  greatest  event  in  its  history.  There  is,  indeed,  something 


INDUSTRIAL  ART. 


509 


like  poetry  in  this  fact  that,  one  hundred  years  after  1776,  the  descendants  ot 
the  men  who  lost  and  the  men  who  won  an  empire  should  join  together  in 
true  brotherly  regard  in  celebrating  the  event.  The  rest  of  the  world  had 
nothing  to  celebrate  and  much  to  sell,  and  the  picture-galleries  which  were 
filled  by  others  than  America  and  England  were  only  bazaars  for  the  sale  of 
pictures.  None  of  the  treasures  of  the  Louvre  or  the  Vatican  found  their  way 
to  Philadelphia,  though  the  British  Royal  Academy  sent  of  its  best.  But  all 
the  world  had  its  manufactures  to  display,  and  knew  the  extent  of  the  market 


Chinese  Porcelain  Paces. 


to  be  secured  by  its  successful  industries.  We  saw,  therefore,  as  a consequence 
of  this  way  of  regarding  the  Exhibition  by  the  world,  a strong  industrial  and 
weak  artistic  competition  among  the  works  of  foreign  countries,  and  the  reverse 
in  the  American  department.  This  gives  the  subject  of  industrial  art  as  there 
displayed  an  interest  greater  than  it  has  had  in  any  but  the  first  of  International 
Exhibitions. 

To  appreciate  the  character  of  the  works,  and  estimate  the  positions  held 
by  the  different  nations,  it  is  necessary  that  we  should  consider  for  awhile  the 
peculiar  domains  of  the  two  phases  of  art — fine  and  industrial — and  see  to 
what  extent  they  employ  a common  language,  and  in  what  they  are  entirely 
different.  It  has  been  the  fashion  of  very  modern  times  to  believe  that  no 
dividing-line  can  be  drawn  between  the  functions  or  language  of  the  two,  and 


510 


THE  INTERNATIONAL  EXHIBITION,  1876. 


that  between  the  lowest  efforts  of  industrial  and  the  highest  attainments  of  fine 
art  is  alone  to  be  found  a radical  difference  of  capacity  and  purpose.  The 
advocates  of  this  view  instance  a vase  by  Cellini,  or  the  Milton  Shield  by 
Ladeuil — both  objects  of  use,  yet  displaying  in  their  ornamentation  the  highest 
kind  of  fine  art — and  represent  that  a line  which  attempted  to  separate  fine 
and  industrial  art  would  be  covered  by  such  objects  as  these,  which  belong 
equally  to  both,  and  therefore  to  neither  alone.  There  appears  to  be  a confu- 
sion of  ideas  in  this  view,  resulting  from  selection  by  the  artists  of  utilitarian 
objects  upon  which  to  display  their  capacity  for  and  power  in  fine  art.  It  is  a 
question  not  yet  decided  whether  the  examples  of  even  the  greatest  masters 
justifies  the  employment  of  the  highest  art  as  ornament  for  merely  useful 
objects,  and  this  is  apart  from  the  still  more  disputed  question  of  whether  the 
human  figure  is  properly  employed  in  ornamentation  at  all.  The  lovely  basso- 
relievo  chasings  of  Ladeuil  or  Flaxman  might  as  well  have  been  worked  on 
tablets,  to  be  framed  like  pictures,  as  upon  shields,  and  the  question  to  be 
settled  is  whether  the  heroic  sentiment  associated  with  the  name  and  the  con- 
venient form  of  a shield  is  ample  apology  for  its  use  as  the  basis  for  a work 
of  fine  art.  By  the  name  alone  could  the  beautiful  work  of  art  called  the 
Milton  Shield  be  mistaken  for  an  industrial  object;  and  one  of  the  lessons  to 
be  learned  from  such  a work  is,  that  if  it  becomes  a sacrilege  to  use  an  object 
for  that  purpose  which  its  name  implies — f.  ^.,  when  a shield  intended  for  the 
protection  of  the  human  body  becomes  a shrine  at  which  the  soul  worships — 
then  the  true  province  of  ornamentation  has  been  abandoned,  and  the  realm 
of  fine  art  attained.  By  the  union  of  the  two  branches  of  art  in  one  object 
results  a confusion  of  thought  concerning  the  functions  of  both.  Yet  though 
this  confusion  has  existed  and  does  exist  in  the  minds  of  some,  it  by  no  means 
establishes  the  principle  that  there  is  no  distinction  between  the  scope  and 
language  of  the  two,  but  only  demonstrates  the  necessity  for  a discriminating 
analysis.  If  for  instance  we  see  that  in  the  great  art  epochs  a clearly  distinct 
line  was  drawn  between  the  scope  and  methods  of  fine  and  industrial  art,  and 
that  in  the  worst  periods  of  art  the  line  was  indistinct  or  obliterated ; if  the 
works  produced  by  the  men  who  recognized  this  line  of  demarcation  remain  to 
testify  in  all  their  perennial  beauty  that  art  had  allied  itself  to  the  spirit  of 
Nature,  and  expressed  eternal  principles;  and  if  the  works  of  men  who  ignored 


INDUSTRIAL  ART. 


511 


this  line  appear  only  at  long  intervals  attractive,  and  then  but  to  those  who 
judge  by  sensation  rather  than  sense,  and  if  the  basis  of  the  existence  of  such 
works  be  only  the  caprice  of  fashion  or  the  affectation  of  popularity,  coming 
and  going  without  reason  if  not  without  law,  then  we  must  arrive  at  a definite 
conclusion  that  there  is  a principle  underlying  this  question  which  exists  through 
all  the  ages,  whether  we  guess  at  it,  find  it  or  ignore  it ; and  that  in  the  world 
of  art,  as  in  the  physical  world,  accident  is  impossible  and  law  reigns.  What  we 
call  accident  is  only  law  misunderstood  or  disobeyed ; what  we  call  beauty  in 
art  is  but  the  co-ordination  of  men’s  works  with  God’s  works,  the  expression 
of  the  perennial  character  of  created  things,  and  displaying  the  law  by  which 
they  exist,  as  contrasted  with  the  exceptional  or  temporary  nature  of  a par- 
ticular instance  of  His  work,  the  individual  rendering  of  a law  under  special 
circumstances.  Thus  the  Venus  of  Milo  female  type  of  beauty  will  never  go 
out  of  fashion,  and  the  world  will  never  change  its  opinion  about  the  statue  as 
a work  of  art,  because  the  artist  only  displayed  in  his  ideal  the  permanent 
type  of  his  subject,  which  will  last  as  long  as  men  and  women  are  alive  to 
see  it.  But  the  way  in  which  the  back-hair  of  the  lady  is  looped  up,  being 
only  a human  arrangement,  passes  away  and  reappears  alternately  on  the  head 
of  the  modern  Venus  of  flesh  and  blood,  coming  into  fashion  apparently  about 
twice  or  thrice  in  a century — less  frequently,  perhaps,  or  it  may  be  more  often  ; 
and  whether  one  or  the  other,  our  appreciation  of  the  statue  of  the  goddess 
is  never  affected  by  it,  for  the  Venus  is  perennial  though  fashion  dies. 

The  same  principle  may  be  applied  to  ornamentation  as  to  fine  art.  The 
design  which  is  permanently  acceptable  to  cultivated  taste  is  that  which  is  based 
on  nature  as  a foundation,  and  true  to  all  time,  which  generalizes  the  charac- 
teristics of  nature,  and  adapts  them  to  increase  man’s  enjoyment  without  sacri- 
ficing his  convenience.  So  long  as  the  nature  upon  which  this  design  is  based 
exists  for  men  to  see,  so  long  will  each  explain  the  other,  the  origin  and  the 
application ; but  just  to  the  extent  that  the  natural  basis  and  conventional 
arrangement  are  departed  from,  displaced  by  mere  imitation,  or  temporary  or 
local  fashion,  so  will  the  appreciation  of  such  work  be  short-lived  or  limited  to 
the  vulgar  taste  it  was  intended  to  gratify. 

When  we  see  the  same  general  principles  of  design  adhered  to  in  all  the 
great  epochs  of  ornament,  and  see  them  departed  from  in  the  periods  of 


512 


THE  INTERNATIONAL  EXHIBITION,  1876. 


debasement,  it  is  not  difficult  to  see  the  reason  for  the  distinction  between  good 
and  bad ; and  that  is  undoubtedly  the  case.  The  three  great  styles  of  orna- 
mental design,  during  the  periods  of  their  purest  development,  very  plainly 
displayed  the  same  features  of  conventionalization,  geometrical  arrangement  of 
natural  forms,  their  adaptation  to  ornament  an  object  without  injuring  its  useful- 
ness, and  avoided  the  direct  imitation  of  nature  for  design.  These  are  the 
characteristics  of  Greek,  Gothic  and  Renaissance  ornament  at  their  best,  and 
when  these  features  became  less  prominent,  the  styles  decayed,  ending  in  the 


Hindoo  Bronze  l^ase. 


barbarous  efforts  at  ornamentation  that  come  of  imitation  without  thought. 
For  let  it  be  remembered  that  design  is  not  the  mere  imitation  of  details  of 
the  physical  world,  but  adaptation  and  arrangement  of  them.  Imitation  may  be 
seen  in  the  looking-glass,  but  the  glass  can  hardly  be  said  to  design  ; so  a man 
who  reproduces  the  accidental  grouping  of  natural  forms  to  ornament  a carpet 
or  a wall-paper  only  imperfectly  represents  the  phenomenon  of  the  mirror,  with 
as  little  thought,  the  same  skill  in  design,  and  with  less  reflection. 

The  broad  clear  line,  then,  which  history  teaches  us  to  draw  between  design 
applied  to  industrial  and  fine  art,  divides  the  07'na7ne7ital  from  the  pictorial,  the 
conventional  from  the  natural,  adaptation  from  imitation,  the  geoinetrical  from 
perspective  effects. 

When  either  branch  of  design  deserts  its  own  characteristics  and  employs 


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P 


r'A?jr-5a 

barbamwj  •ifiorts  at  oraamentaMiorr; come  of  imltatiofll  whl^t  thought:-^' 

J''  * ' • »"  • ’ • '#V  ^ *T  , _ « _ 

For  lei  it  be  fiimembtrretl  tliet'  dcjljjn  w not  ijvc,  mc^ . Imitation  of  dct^^ij^  of  ^ 

tUc  j[>Hy5itr3!  woE^l,  but  a<iaptatjon  .in4  artai^erhenf  of  thent  Imi^tlon  may 
" ’ • ^ ^ •«  ^ 

*ec(i  |n  /tbc  looking-gla^  bui  the  glass  can  hardly  be  sakl  ao  d!jajygptt  ; :so^  a man  ^ 

whb  reproduces  die  acciUentsl  gftmpir^  ot  ^luraf’ lorrna^  tb- ornametj^’' a carpet  i ^ 

oP  a‘'  tyaQ*pap«^,orUy  imperfe<^y,  reprtrflcnU  tile  phenomenpa  of  the  mi^r^with  - 

^as  little  tiuaight,  the  same  sJuH  in  design,  and  ;,wfth' less,  reflectio^-^  ■ 

■ ' ~mi  ''  .■  ' ^ 

The  bn»d  clear  liocg  iheii,  j|^kb  h&tory  teachea  ns  to  draw  betwd^xlcsigTr  ^ '* 
applied  to  ^mfriai  aOcFv/fwr  art,  divi*1cs,  t\x<t  omaw^iUti^.  from  the  /iriiMr^,>tbb  ii 
cafi^tiatiHl  from  the/nj/tunf/.  ffw^Wwr/iit/ftw*,  the. 

^ r-  j»-  i *-  -'.*'*.  - * jwm.. 

persputcL* 

‘3  Wbc/j'  cltKtr  branch  of  - desigo^  deceits’- cluiracferwii^ai^ 


INDUSTRIAL  ART. 


513 


the  laneuaee  of  the  other,  the  result  will  be  final  debasement,  however  beautiful 
at  first  sight  may  be  the  form  in  which  the  error  is  displayed  ; though  perma- 
nently beautiful,  it  will  not  be  held.  Accepting  these  general  principles,  it  is 
not  impossible  to  formulate,  or  at  any  rate  to  indicate,  the  necessary  elements 
of  good  taste  in  design  for  industrial  purposes. 

Before  going  into  details  concerning  the  application  of  design  to  special 


Hindoo  Bronze  Vase. 


branches  of  industry,  let  us  examine  for  awhile  the  bearing  of  the  dividing-line 
drawn  above,  and  see  whether  it  explains  the  exceptional  beauty  of  styles  which 
recognized  its  existence.  It  is  sometimes  convenient,  for  the  sake  of  illustra- 
tion, to  put  cases  in  their  most  exaggerated  forms,  in  order  that  those  who 
are  unaccustomed  to  make  nice  distinctions  between  right  and  wrong  may  see 
the  truth  when  the  blackest  and  whitest  are  placed  side  by  side.  Even  those 
who  are  unable  to  make  a comparison  may  be  reached  by  a contrast,  just  as 
those  who  never  had  the  blessing  of  a musical  education  may  be  deaf  to  the 


514 


THE  INTERNATIONAL  EXHIBITION,  1876. 


mild  agony  of  an  intentional  discord,  but  would  be  exasperated  and  gesticulant 
over  the  clanging  and  horrors  of  half  a dozen  brass  bands  playing  that  number 
of  tunes  at  the  same  time,  under  the  windows.  In  reasonino-  when  there  is 
danger  of  missing  conviction  by  traveling  towards  the  positive,  the  reasoner 
obtains  the  result  he  wants  by  going  towards  the  negative  pole,  and  by  the 
process  of  reductio  ad  absiirdam,  proves  conclusively  what  a thing  is  not — the 
first  step  towards  proving  what  a thing  is.  Let  us  take  this  step  in  order  to 
arrive  at  some  definite  conclusions  regarding  ornamental  art,  the  fruition  of 
industrial  desicjn. 

The  point  stated  is,  that  design  of  ornament  for  objects  of  use  should  be 
adapted,  not  imitated,  from  nature,  or  from  accepted  types  of  good  historic 
ornament ; that  to  fine  art  belongs  the  imitative  and  natural,  to  industrial  art 
the  adaptive  and  conventional.  When  this  is  reversed,  let  us  see  what  happens. 
A man  made  wealthy  beyond  all  counting  of  money,  by  oil-wells  discovered  on 
the  wilderness  in  which  he  kept  cattle,  was  determined  to  have  an  up-town 
mansion  in  the  metropolis  most  elegantly  furnished — not  in  the  style  approved 
of  by  the  quiet  gentlemen  who  work  for  nothing  in  the  great  universities,  and 
dispense  Greek  thoughts  and  create  the  love  of  Greek  art  at  a slight  advance 
on  starvation,  for  the  love  of  art,  but  in  the  grand  smashing  way  of  a bank- 
president  who  only  means  to  enjoy  it  for  a year,  and  then  seek  permanent 
seclusion  in  some  country  which  has  no  extradition  treaty  with  the  United 
States.  Feeling  the  burden  of  untold  millions  accidentally  his  own,  the  instruc- 
tions to  the  upholsterer  are  always  in  the  same  key — “Spare  no  expense; 
make  it  lively  and  cheerful ; don’t  have  nothing  in  the  house  but  the  most 
splendid  stuff  you  can  get.” 

Hou  se-furnishers  are  human,  but  they  measure  men  and  women  as  well  as 
rooms  and  windows.  They  are  also  sometimes  skilled  in  judgment,  and  will 
measure  a man  for  his  furniture  with  as  much  precision  as  the  boot-maker 
measures  his  foot  for  a pair  of  boots,  and  will  fit  him  as  well.  So  when  Mr. 
Kerosene  Croesus  gives  an  order  for  the  furnishing  of  Shoddoleth  Mansion,  the 
upholsterer  takes  the  gentleman’s  measure  of  taste,  and  in  order  to  fit  him 
furnishes  somewhat  as  follows: — 

The  carpet  in  the  reception-room  is  ornamented  by  enormous  groups  of 
the  largest  kinds  of  flowers,  spread  widely  apart,  so  that  the  inquiring  visitor, 


INDUSTRIAL  ART. 


■ 515 


interested  in  art,  has  to  move  two  chairs  and  a table  before  he  can  get  a clear 
view  of  any  one  bouquet.  The  primary  colors  predominate  as  a rule  in  flowers, 
and  so  the  floor  has  a very  lively  appearance,  according  to  order.  The  impa- 
tient visitor  waiting  to  be  received  must  have  his  attention  engaged,  and  so  the 
walls  are  covered  by  an  elaborate  paper-hanging,  on  which  frequent  and  per- 
sistent humming-birds  and  birds  of  Paradise,  in  all  the  gorgeous  plumage  of 
the  Orient,  relentlessly  pursue  prismatic  insects,  who,  in  the  flutter  and  excite- 
ment resulting  from  this  attack  of  handsome  savages  on  them,  seek  a hopeless 
refuge  among  wreaths  of  roses  and  lilies  and  amaranth,  suspended  on  the 
bronze  frame-work  of  the  out-of-doors  scenery.  The  ceiling,  emblematic  of 
heaven,  is  an  elaborate  imitation  of  the  effect  of  sunlight  on  clouds  and  vapor, 
which  display  the  whole  register  of  aerial  effects,  from  the  blazing  reflection  of 
golden  rays  of  direct  light,  through  the  mild  tenderness  of  the  divine  azure  to 
the  sombre  tones  of  atmospheric  shadow  before  the  storm  breaks  to  clear  the 
firmament  of  its  impurity.  That  is  the  background.  Disporting  themselves  on 
this  elaborate  heaven  are  cherubs  and  seraphs,  who,  regardless  of  all  scientific 
laws  of  motion,  have  all  their  motive  power  behind,  and  the  weight  to  be  pro- 
pelled in  front  of  the  power,  a putting  of  the  cart  before  the  horse,  to  which 
age  has  given  a fictitious  authority.  These  subordinate  spirits  are  dancing 
attendance,  or,  more  properly,  flitting  attendance,  on  a human  deity  symbolic 
of  love,  drawn  in  a three-ton  golden  car  by  several  doves  harnessed  to  the 
vehicle  with  blue  ribbons,  all  of  which  is  supposed  to  be  a human  reflection 
of  the  ideal  common  sense  of  the  Almighty,  under  the  name  of  romantic  com- 
position, above  the  perceptions  of  ordinary  men.  Though  there  is  no  open 
fireplace  in  the  room,  the  ghost  of  its  ancestors  remains  in  the  shape  of  a 
mantlepiece  and  a blind  grate.  On  this  mantle  are  placed  costly  porcelains 
from  France,  hideous  bronze  grotesques  from  Japan,  and  a vase  of  artificial 
flowers,  made  in  moulds,  of  wax  material,  but  colored  to  imitate  natural 
flowers — flowers  which  never  grew,  never  can  decay,  and  never  really  existed. 
A few  engravings  might  be  seen  on  the  walls,  if  the  flashing  colors  of  the 
humming-birds,  roses  and  lightning-bugs  did  not  so  completely  kill  all  modest 
effects  of  mere  light  and  shade. 

But  this  is  only  the  porch  to  the  temple.  The  intention  so  far  has 
been  to  impress  on  the  visitor  how  fortunate  it  would  be  for  him  to  be  intro- 


THE  INTERNATIONAL  EXHIBITION,  1876. 


516 


duced  to  the  holy  of  holies  which  Mr.  Croesus,  with  a farmer’s  vocabulary, 
calls  his  parlor. 

Let  us  now  see  the  triumphs  of  the  highest  moneyed  taste.  The  carpet 
here  is  the  best  imitation  of  a landscape-painting  that  can  be  woven  in  dyed 
wool,  the  subject  embracing  a vast  extent  of  country  in  a poetical  region,  like 
one  of  Turner’s  day-dreams  in  color,  displaying  miles  of  fertile  valley,  a majestic 
river  flowing  through  it,  upon  one  of  whose  banks  rises  as  charming  a piece 


of  architecture  as  ever 
adorned  a bride-cake. 
Farther  away  a broken 
range  of  mountains,  and 
farther  still  the  peaceful 
blue  sky,  checkered  only 
with  cloudlets  of  fleecy 
whiteness  and  purity. 
Let  us  walk  across  this 
carpeted  floor  and  keep 
count  of  what  we  shall 
tread  upon.  The  first 
step  places  us  in  the 
centre  of  a herd  of  deer 
browsing  in  the  valley, 
all  of  one’s  head  and 
part  of  another’s  body 
being  thus  hidden  by  a 


Hindoo  Water-Bottle. 


No.  10  boot;  the  next 
step  is  into  the  most 
graceful  curve  of  the 
river  at  its  deepest  part, 
then  on  to  the  top  of 
the  moated  castle,  thence 
to  the  centre  of  a forest 
in  the  mid -distance, 
thence  to  the  highest 
elevation  of  an  Alpine 
mountain,  and  lastly 
upon  the  heavens  them- 
selves. Arriving  at  the 
sham  fireplace,  we  step 
on  a hearth-rug,  the 
design  for  which  is  a 
monarch  of  the  glen 


rising  m a stately 
manner  from  his  native  heath,  an  excellent  copy  from  one  of  Landseer’s  most 
striking  pictures  of  stag-life. 

Retracing  our  steps,  of  course  everything  is  seen  the  wrong  way.  The 
trees  appear  to  grow  down,  and  the  river  to  run  up;  the  highest  part  of  the 
castle  is  the  ditch  round  the  foundations,  and  the  lowest  its  turrets  and  pin- 
nacles ; even  the  red  deer  stand  on  their  heads  and  graze  with  their  hoofs ; 
and  whilst  this  all  occurs  to  the  details  of  the  landscape,  the  general  effect  is 
so  changed  that  the  heavens  are  beneath  and  the  earth  above,  which,  taken 
altogether,  may  be  described  as  a triumph  of  distorted  taste. 


IND  US  TRIAL  AR  T 


517 


Not  to  dwell  too  long  upon  so  unlovely  a theme,  this  misdirection,  which 
is  seen  so  plainly  in  a landscape  carpet,  may  be  detected  in  almost  every  other 
object  of  use  to  which  ornament  can  be  applied.  On  the  breakfast-table  the 
boiled  eggs  are  to  be  found  in  a porcelain  basket  which  is  the  model  of  a 
setting  hen,  as  though  half-hatched  eggs  were  delicacies,  and  when  Mr.  Croesus 
requires  some  cream  for  his  coffee,  he  seizes  the  rampant  tail  of  an  earthen- 
ware brown  cow,  and  swinging  the  whole  animal  in  the  air,  forces  the  cream 


through  her  mouth — 
cream  which  has  been 
previously  introduced 
into  her  body  through 
a skylight  in  her  back. 

There  is  also  a tragic 
side  to  this  demorali- 
zation of  taste,  for  in  a 
private  sanctum,  where 
memorials  of  the  past 
are  preserved  to  re- 
mind Mr.  Croesus  of  his 
early  struggles,  and  to 
enhance  the  value  by 
contrast  of  present 
wealth,  are  two  candle- 
sticks of  sea-green 


of  the  Crucifixion;  the 
bowed  head  of  the  Sa- 
viour and  his  out- 
stretched arms  forming 
the  handle  by  which  it 
is  to  be  carried ; and 
that  great  historic  scene 
which  was  complete 
when  the  dying  Saviour 
cried  in  mortal  agony, 
“It  is  finished!”  is  em- 
ployed to  furnish  the 
ornament  of  a stick 
with  which  to  hold  a 
tallow  candle  — the 
crown  of  thorns  to 
ij-  ^ catch  the  grease  as  it 

Hindoo  Water-Bottle. 

glass,  which  are  models  gutters  over,  and  the 

pierced  side  of  Christ  to  be  clasped  in  the  hand  whenever  Bridget  takes  this 
candlestick  into  the  cellar  to  light  her  when  fetching  a hodful  of  coals. 

All  this  happens  when  designers  forget  the  limits  by  which  ornamental  art 
for  industrial  purposes  should  be  bounded,  and,  overstepping  these  lines,  invade 
the  domain  or  employ  the  language  of  fine  art,  by  imitation  rather  than  adap- 
tation. The  same  mistakes  occur,  though  in  the  opposite  direction,  when  the 
designer  of  a picture  or  a statue  abandons  the  truth  and  beauty  of  nature,  or 
neglects  to  imitate  her  best  types,  or  treats  them  in  an  ornamental  spirit.  Then 
results  either  a conventional,  academic  manner,  stiff  and  formal,  or  madly 


518 


THE  INTERNATIONAL  EXHIBITION,  1876. 


eccentric  in  its  individuality,  which,  being  only  a crazy  fashion  and  not  a truth, 
becomes  as  temporary  in  its  existence  or  appreciation  as  the  fashionable  absurdi- 
ties in  dress.  It  is  true  that  many  imperfectly  educated  artists  fall  into  this 
miserable  style  of  work  from  want  of  knowledge  and  lack  of  power;  it  is  not 
so  much  chosen  wickedness  on  their  parts,  as  an  unfortunate  imbecility,  pro- 
duced by  a morbid  belief  that  the  highest  success  in  art  is  more  the  result  of 
training  the  heart  than  the  head,  a thing  of  the  emotions  rather  than  a matter 
of  intellect.  It  Is  a fact  having  a very  definite  meaning,  and  which  ought  to 
have  much  influence  upon  all  schemes  of  education  for  professional  artists,  that 
all  great  artists  have  been  men  of  great  intellectual  powers  and  attainments ; 
and  the  ignoring  of  this  historical  fact  has  led  many  men  to  infer  that  science 
has  no  necessary  place  in  the  education  of  an  artist ; yet  both  Leonardo  da 
Vhnci  and  Michael  Angelo  must  have  devoted  as  much  time  and  care  to  the 
study  of  science  as  of  art.  Now,  if  we  compare  their  works  with  those  of 
other  artists  deficient  in  scientific  knowledge,  we  find  those  of  the  former  have 
a knack  of  being  right,  whilst  the  latter  display  the  habit  of  being  wrong  in 
matters  pertaining  to  form.  Color  is  so  much  a question  of  individual  percep- 
tion or  appreciation,  and  so  little  of  exact  knowledge,  that  it  is  not  so  possible 
to  apply  close  standards  of  right  or  wrong  (even  if  they  existed)  in  judging 
the  works  of  artists  as  to  color.  Not  so  of  form,  or  light  and  shade,  which 
are  subject  to  the  most  stringent  scientific  laws,  and  outrages  of  these  laws  are 
therefore  easy  to  detect.  Viewed  in  this  light,  the  pictures  of  painters  who 
ignore  science  are  nothing  but  elaborate  mosaics  of  lies,  no  one  detail  of  which 
can  possibly  be  true,  for  their  authors  possessed  no  accurate  knowledge  of  the 
appearance  of  natural  phenomena  by  which  these  details  could  be  tested  and 
judged.  If  we  find  in  an  elaborate  composition  a detail  of  architecture,  of 
exact  geometric  form,  drawn  under  the  influence  of  light  and  shade,  both  the 
form  and  effect  of  chiaroscuro  are  capable  of  absolute  test  and  demonstration 
of  being  either  right  or  wrong.  The  man  who  is  ignorant  of  the  scientific 
rules  and  basis  of  art  will  draw  these  wrongly  all  the  time,  unless  about  once 
in  a hundred  times  he  gets  the  form  and  effect  right  by  accident.  Now,  if  we 
apply  this  test  to  a simple  detail  whose  accuracy  can  be  demonstrated,  and  find 
the  painter  has  drawn  it  wrongly,  why  should  we  trust  his  version  of  a face 
or  a landscape  which  require  infinitely  higher  powers  of  observation  ? If  we 


INDUSTRIAL  ART. 


519 


cannot  trust  a man  with  a penny,  why  entrust  him  with  a pound?  and  what 
sane  man  would  do  so  ? A man  notoriously  dishonest  about  cents  will  steal 
dollars  when  he  has  de- 
veloped his  talent  and  the 
opportunity  comes,  and  a 
semi-blind  man  who  cannot 
see  a leaf  with  sufficient 
perception  to  draw  it  accu- 
rately need  never  be  relied 
upon  to  draw  the  whole 
tree  from  which  it  has  been 
plucked. 

It  is  no  answer  to  this 
argument  to  say  that  the 
inspired  artist  feels  when 
he  is  right,  for  that  is  only 
a sentimental  opinion  of 
his  own  work,  which  may 
be  entirely  wrong  without 
his  knowing  it,  and  true 
perception  or  feeling  is 
based  on  our  capacities  to 
see  accurately  and  test  our 
knowledge.  This,  which  is 
true  of  fine  art,  is  equally 
true  of  desiorn  for  Indus- 

o 

trial  art.  We  had  too  many 
lamentable  illustrations  of 
this  truth  in  the  works  of 
half-educated  artists  in  the 
Centennial  Exhibition  to 
doubt  it,  and  there  were  not  wanting  many  examples  of  the  types  of  bad  taste 
already  described  to  show  that  errors  exist  on  both  sides  of  that  line  which 
divides  fine  art  from  industrial  art. 


520 


THE  INTERNATIONAL  E X H I B I T 1 0 N,  1 8 7 6. 


If  we  turn  from  these  and  examine  works  of  industrial  art  which  are 
accepted  as  types  of  good  design,  we  find  precisely  the  opposite  of  such  a 
spirit  as  that  referred  to,  and  a recognition  of  the  dividing-line.  Consistency 
and  simplicity  are  the  necessary  characteristics  of  good  ornamental  art,  and  all 
great  schools  have  recognized  it.  Inconsistency,  over-elaboration  and  sham  have 
marked  the  ephemeral  products  of  those  schools  or  epochs  which  have  never 
been  nor  will  ever  be  considered  great.  Let  us  see,  for  instance,  how  the 
Greeks  looked  at  design  for  industrial  purposes.  There  are  not  more  than 
twelve  distinct  forms  of  ornament  used  for  the  decoration  of  all  their  industrial 
products,  but  these  were  well  chosen  and  well  adapted,  and  invariably  increase 
the  beauty  of  the  object  ornamented  without  detracting  from  its  use  and  con- 
venience. Not  one  of  these  forms  makes  more  than  a slight  approach  to  the 
imitation  of  nature ; in  only  a few  does  this  extend  to  the  ignoring  of  sym- 
metry as  an  element  of  conventionalism,  and  in  none  at  all  is  this  last  feature 
entirely  departed  from.  This  much  of  ornament. 

It  is  to  be  remembered,  however,  that  design  for  useful  objects  includes 
both  their  construction  and  ornamentation,  and  the  first  is  to  be  attended  to 
first,  before  any  consideration  of  the  second  is  necessary.  Faithful  service  well 
performed  is  what  human  nature  requires  of  its  servants,  for  that  cannot  be 
dispensed  with  as  an  ideal,  however  much  of  this  ideal  service  is  lost  in  the 
actual  performance  through  want  of  skill ; and  then  comes  the  soul’s  longing 
for  graceful  service  added  to  faithful  service.  Satisfying  the  whole  need  of  both 
body  and  soul  is  the  function  of  good  design,  whilst  beautifying  the  necessity 
is  the  province  of  ornamentation.  So  the  canons  of  criticism  upon  which 
industrial  art  may  be  judged  are  not  past  the  comprehension  of  very  ordinarily 
educated  people,  always  supposing  that  they  have  common  sense  as  human 
creatures,  and  some  modesty  and  refinement  of  thought.  For  just  as  most 
people  are  fair  judges  of  good  workmanship  so  far  as  serviceableness  goes, 
thus  far  they  are  competent  critics  of  more  than  one-half  of  the  quality  of 
useful  objects,  their  adaptation  to  the  utilitarian  purposes  for  which  they  were 
designed.  Then  there  is  the  second  half  of  the  capacity  to  criticise — viz., 
judging  of  the  purity  of  taste  and  skill  of  workmanship  displayed,  which  is 
necessarily  a matter  either  of  education  or  observation,  another  form  of  educa- 
tion. The  knowledge  of  the  expert  includes  not  only  these  two  branches,  but 


INDUSTRIAL  ART. 


521 


also  a close  acquaintance  with  the  materials  of  the  arts,  and  intimacy  with 
processes  of  manufacture  ; for  not  only  must  good  design  be  on  right  general 
principles  of  taste,  but  it  must  recognize  the  peculiarities  of  the  raw  material 
in  which  the  design  has  to  be  produced,  as  well  as  the  process  by  which  it 
will  be  manufactured.  Such  a comprehensive  knowledge  as  that  is  not  neces- 
sary for  the  ordinary  person  aspiring  to  possess  good  taste,  for  all  will  never 
become  experts,  but  if  they  did,  even  then  there  would  be  no  experts  left. 

Seldom  has  there  been,  even  if  ever,  so  complete  an  opportunity  for  the 
cultivation  of  o;Ood  taste  and  sound  ideas  concerninor  industrial  art  as  the 
Centennial  Exhibition  afforded.  With  some  definite  and  catholic  opinions  on 
what  constitutes  good  taste,  and  a clear  perception  of  the  difference  in  function 
between  industrial  and  fine  art,  then  it  becomes  a simple  matter  to  estimate 
the  language  of  each  by  whatever  tongue  it  is  spoken.  Art  is  the  one  universal 
language,  and  national  types  are  but  accents  or  dialects  of  the  same.  Here  in 
this  Catalogue  is  the  permanent  echo  of  the  Centennial  Exhibition,  wherein  the 
objects  most  conspicuous  for  their  beauty,  or  in  the  technical  skill  displayed  in 
their  construction,  are  offered  for  the  appreciation  of  the  world  and  of  future  ages. 

Living  men  who  remember  with  pride  the  year  of  celebration  when  the 
nation  became  a century  old,  may  here  see  reminders  of  much  that  was  enjoy- 
able, admirable  and  wonderful  at  Philadelphia.  Men  who  are  yet  unborn  will 
recognize  in  this  permanent  record  of  a national  triumph  the  evidence  that, 
though  one  hundred  years  had  somewhat  changed  the  character  of  their  ances- 
tors, time  had  in  no  wise  eliminated  from  the  national  heart  a thoughtful  care 
for  posterity. 


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